


Gojpgbtfl?. 


-— 


COPYRIGHT DEPOSm 
















THE TEACHER 


HO iH0t> Ct>iT OF 


FLOWERS'FRUIT 


PAINTING 

BY D. m.campan'a 


>■ 















•* 








; 


*$» *J* ♦$* ♦$* ♦$* «j» ♦** «J* ♦*•* ♦*•* «J» -*J* <J* ♦*♦ «■*♦ *J* ♦*•* «*♦ «J» ♦*♦ »*♦ ♦*•* «•*« «J* «.♦.* »J* «-♦■* *J* 

❖ ____ 

* 


*> 


t 


/ 


THE 


(s 6 

<Hoq t- 


TEACHER OF 
FLOWERS FRUIT 
PAINTING 

BY 

D. M. CAMPANA / 



Copyrighted 
D. M. CAMPANA 
Chicago, Ill. 


*JnJ» *J» »$♦ ♦$» »$* «J* «$♦ ♦$» *J» *$♦ -*J* <$< * 1 * *J* *4* **♦ ♦$* *$» ♦$* ♦$» ♦$» *$* ♦£♦ *J+ *4* *£♦ *t 4 *■ 








Nil 14-0° 
.CS5 




<# 


k 


\ 




» r » 


APR 24 1924 1 
©CU ^ 80960 ^ 

i l-~ 





H N this book I will deal 
on the topic of “Flower 
and Fruit Painting,” 
and will endeavor to explain 
as plainly as possible the best 
method and Colors employed 
by the very best artists in re¬ 
producing flowers and fruit 
with Water Colors, with Oil 
Colors and China Colors. 

I will deal in general, be¬ 
cause the detailing of all 
known fruit and flowers would 
be an undertaking requiring 
a number of books making the work very expensive 
and not easily purchased by people with small 
means. Furthermore, not all flowers and fruits 
are popular with the public, some being painted 
more than others on acount of their more decorative 
shapes and colors and also because of their indi¬ 
vidual pleasing and delicate appearance. 

It would of course be a useful task for our reader 


z 


3 









to study nature in order to get better acquainted 
with the subjects, their forms, their movements, 
their colors and also the shapes and colors of their 
leaves. 

As I mention leaves, I must say, that every flower 
or fruit must be given the proper shape of leaf, as 
it would be very incongruous to see, for instance— 
an apple with a grape leaf or grapes with apple 
leaves. This is a mistake very often found among 
decorators not having had a sufficient training in 
nature; and this insufficiency will always make the 
work inartistic and poor. 

If you will take my advice you will copy with pen¬ 
cil, flowers and fruit from nature as much as possi¬ 
ble, as it would not be quite necessary to begin 
copying them with colors. Pencil drawing will be 
sufficient and will be the proper thing to give you 
a general idea of the shape. 

Take for instance, roses, of which there are so 
many kinds and shapes, some having curly petals, 
some having small and straight petals, some being 
closed in a bud-like shape and some wide open. You 
will notice that if you come to paint these roses, you 
should know at once the special shape that you in¬ 
tend to reproduce, so that people when looking at 
your decoration, will easily know if the rose you 
painted is an American Beauty, McKinley Rose or 
whatever kind you may desire to call it. 

If you have several good drawings made with 
pencil, when you come to paint with color, you will 
be more positive regarding the proper place to put 
your touches and you will not tinker over and over 
with uncertain touches and poor handling. 

A good many of my readers will object to giving 
the required time for the study of Drawing, as they 


4 


will claim, time is short, and they must make a 
little money. 

This reason, of course, is very strong, but if you 
wish to learn a trade, you must be ready to sacri¬ 
fice some money just as when you are starting into 
a new business. 

The time that you spend will repay you a hun¬ 
dred-fold and if you will take the time of learning 
how to draw, you will have the greater advantage 
of being able to paint quickly and better, which, of 
course, will bring you a far better financial return 
than if you had carelessly neglected this important 
point, of drawing from nature. 

You should therefore begin properly and should 
realize that it takes time to do any kind of work 
and that it takes still more time to do that work 
properly. You can place some flowers standing in 
a small vase with water, near the window, so that 
the light will illuminate them on one side only, take 
some drawing paper and a pencil and begin to draw 
the flowers and leaves as you see them in front of 
you, copying the whole very carefully and as cor¬ 
rectly as you possibly can. 

Draw the subjects with all details, show the dif¬ 
ferent petals, how they are attached to the stems, 
how the leaves are attached to the small stems, how 
many leaves in the cluster and have everything just 
like the model. 

When your drawing is correctly done in pencil, 
you may apply the dark shadows seen between the 
petals and these shadows will give the roundness 
to the flowers and give the proper relief. 

I mentioned before that the light should come 
only from one side, and this is of the utmost im¬ 
portance, because in this way the light will illumi- 


5 


nate the flowers on one side and on the opposite side 
it will be in the shadow. 

Always follow this suggestion in everything you 
paint and have light on one side and shadow on the 
other because this will make it much easier to 
give the right impression of the flower and also 
because this is a general rule in all paintings, that 
is, ‘flight and shadows.” 

If you had copied such a flower in the open air, 
and the light had come from all direction, you would 
find it much more difficult to apply the different 
shadows. 

For this reason I would advise you always and 
especially in the beginning to copy your subjects 
indoors. 

Of course, in suggesting rules for flowers, I al¬ 
ways include the same rule for fruits, as they also 
are copied similarly to the flowers and they are also 
placed in the same position and drawn carefully with 
a pencil. You may undertake the painting with col¬ 
ors, but be certain not to be too anxious to start 
using the colors, because colors are actually of sec¬ 
ondary importance, when compared with drawing. 

You can paint a flower or fruit with two or three 
colors, and if the drawing is correct, you will find the 
effect to be beautiful while on the contrary, if you 
have the most beautiful colors and the drawing is 
incorrect, the decoration will be positively inferior 
in quality. 

In painting flowers I would call my readers’ atten¬ 
tion to the lightness and easy movements of the 
flowers as compared to fruits. Flowers are generally 
more decorative and they usually have long stems, 
■which can be twisted and moved around considerably 
when being painted. 


6 


WATER COLOR PAINTING, OIL COLOR PAINT¬ 
ING, CHINA PAINTING—THEIR DIFFERENT 
TECHNICS AS COMPARED TO ONE ANOTHER 
AND THE BEST METHOD OF REPRODUCING 
NATURE WITH THESE THREE DIFFERENT 
PIGMENTS 

Flower and 
will find all 
: of Water 
Color Painting individually explained in this 
book. If you desire to study the technic of Oil Paint¬ 
ing and its method, all primary rules will also be 
found in this booklet. The method and technic of 
China Paniting will be found explained very thor¬ 
oughly in saparate chapters. To explain more fully 
the primary rules of either one of these three 
branches of painting as may interest the individual 
student, I have divided them in three separate 
classes. Students may refer to them accordingly. 

This book is purposely written for students wish¬ 
ing to learn the painting of flowers and fruits from 
nature, without the help of a teacher. It is no doubt 
a difficult matter to learn a trade or an art without 
having a person to explain to you how to master the 
different difficulties. 

The best way to follow is to purchase a text book 
which would take the place of a teacher and gives 
all the important facts you may require at least for 
the beginning, and to acquire from this book a gen¬ 
eral idea of this art. 

If you are sincerely interested in your work, you 
will continually learn new points and master those 
difficulties thought insurmountable at the beginning. 
Work and work again, as this book does not accom- 



EADERS interested in learning 
Fruit Painting in Water Colors 
matters pertaining to technk 


7 



plish, but teaches you the method, with which you 
must accomplish. 

Art is difficult, as it not only attempts to repro¬ 
duce nature, but it adds, takes or composes for the 
purpose of making harmonious things. Study nature 
continually, as this is the master teacher of all 
branches of art. 

Readers may also be able to make useful compari¬ 
sons between these three kinds of paintings, and the 
comparisons may prove useful and interesting. 

Flowers are very airy and weigh very little, so 
that they can be easily placed, here and there, partly 
covered with background or coming out of the 
clouds, making it very pretty and light. 

Fruit, on the contrary, being heavier by nature, 
are in most cases painted in a laying position, for 
instance—on the table, in a basket, etc. In china 
painting, they are also painted in decorative posi¬ 
tions. You will notice, that though flowers gener¬ 
ally look upward, fruits hang down, this being very 
obvious, as they are heavier than flowers. 

Such a fact is, however, very often overlooked and 
the appearance of the subject will be faulty and out 
of place. 

There is another difference between flowers and 
fruits, this difference being in the transparency of 
the subject. 

Flower petals are very thin and transparent; while 
the nature of fruit will generally not allow the light 
to penetrate them. 

An exception to this rule would be grapes, cur¬ 
rants, gooseberries and a few others, which being of 
a liquid nature, will allow the light to penetrate them 
and will show a certain amount of transparency. 


8 


The student should also remember, that espe¬ 
cially among flowers, nature follows a certain rule 
as to the amount of petals for every flower and also 
as to the attachment of such petals to the main body. 

You will find, for instance—that wild roses have 
five petals, violets have five, as also forget-me-nots 
and most of the fruit blossoms have five petals, and 
if you paint any special flower, it is absolutely neces¬ 
sary that you know beforehand how many petals 
such a flower has, so that you may paint it correctly. 
Green leaves also grow in cluster of certain numbers, 
3, 5, 7, etc. 

Of course, there are exceptions to the rule, be¬ 
cause natural freaks are liable to show a flower with 
one petal less or more than the general rule, but this 
being only an exception, it should not enter into your 
decoration, because you are supposed to paint na¬ 
ture as it is in its proper form. 

You never paint clover leaves with four petals, 
simply because you are apt to see one with four 
leaves; and for the same reason you should always 
study the character, not only in form, but also in the 
number of petals. 

It would be a difficult matter to give a certain 
number of petals for roses, chrysanthemums and 
such flowers with a large number of petals, but it 
would not be surprising if they also would come very 
close (if not accurate) to a certain number of petals. 

With fruit of course, this rule is not necessary, be¬ 
cause fruits are in solid form and they will only fol¬ 
low a certain shape and that will be all that need be 
observed by students. 

The stems of the fruit are always more clumsy 
and stronger than the stems of flowers because 
fruit is heavier and needs support. 


9 


These are a few of the principle rules which I wish 
to impress upon the students, and a good many more 
will be added in the course of this book. 


WATER COLOR PAINTING 

AINTING with Water Colors is perhaps the 
most difficult of the three methods treated 
in this book. It is most difficult because if 
a mistake is made, for instance, color ap¬ 
plied over a high light, a cloud covered by the wrong 
tint, a false line on your figure subject, etc., it is par¬ 
ticularly difficult, if not impossible, to cover up the 
mistake, at least without recourse to some special 
trick. 

Paper does naturally absorb the color and no 
amount of washing or tampering will give you good 
results. You may make a clever correction, but not 
clever enough to pass unobserved by an expert critic. 

In other branches of Art, colors can be erased or 
covered, but not so easily in Water Color painting. 
The peculiar nature of the paper will always retain 
a certain amount of the color. You, therefore, are 
warned to be most attentive in planning every color 
before the application of the different shades, as 
when you have started, you will not be able to take 
time for mixing new shades or looking for colors, 
brushes, etc. 

Prepare at first an accurate drawing of the sub¬ 
ject you wish to reproduce. Remember that draw¬ 
ing is of the utmost importance as if the drawing is 
good, you have attained half of the success. Take 
sufficient time and plan all your details with a very 
delicate pencil line, even marking small secondary 



10 



objects liable to escape your attention when you are 
busily engaged in applying colors. 

When you paint, every stroke must be in the 
proper place and the work must be rapid. The quick 
drying of the Water Colors and the difficulty of 
changing shades or connecting them without leaving 
hard marks or lines is very great. In fact, your pro¬ 
ficiency will be attained when you will be able to 
blend and unite different parts in your painting with¬ 
out showing any sharp and connecting lines. In 
order to succeed in this, I advise you to have several 
small receptacles (small saucers) at hand and pre¬ 
pare all the main shades needed for the particu¬ 
lar work you wish to undertake. For instance, if 
you are to paint a landscape and wish now to paint 
the sky, you should have a small receptacle or small 
saucer with the general blue tint of the sky, one with 
the light tint needed on the light part of the clouds, 
one with the middle tone of the clouds, one with 
other dark shading, etc. If any other color is needed, 
have still other saucers containing the different 
shades and in plentiful quantity. 

If you wish to paint flowers have several saucers 
with the different shades of colors, as for instance, 
for a Pink Rose. Have two or three strengths of 
CARMINE, some for the dark shades, one for the 
middle tone and one for the lightest parts. Have 
another saucer with the neutral tone, as for instance, 
a very diluted mixture of CARMINE AND EM¬ 
ERALD GREEN which is used for a neutral tone 
and have some LIGHT YELLOW for transparency 
often noticed at the attachment of the petals. 

Having all the colors at hand, you will now take 
several clean brushes and will begin to apply the 
colors in the proper place as seen on the original you 


11 


are trying to copy. ALWAYS begin painting your 
subject on the upper part and have plenty of color 
in your brush so that it will spread and run down¬ 
ward and suffuse into the next shade you are going 
to apply. If you use a brush with very little color 
on it, your application of color will dry too quickly 
and this will handicap you in blending the different 
shades. Take of one color and apply, then apply of 
another next to the first one before the first one has 
time to dry and the two will blend together without 
leaving any bad or sharp lines. Keep on until the 
different parts of the subject is finished. 

It is very difficult to paint a flower or any other 
subject with only one coating of color, but by work¬ 
ing as simply as possible and by retouching as little 
as possible, you will have a much better effect and 
a more transparent one than if you had retouched 
and repainted your work several times. 

Dampening of the paper is a good help and will 
keep your colors from drying quickly. In this case 
you dampen the paper only on those parts you are 
intending to paint. Use a large brush full of water 
and go over the paper two or three times, as only one 
coating of water will not be sufficient to leave enough 
humidity in the paper. As I have mentioned above, 
you should not dampen the whole picture, but only 
the individual parts to be painted at the present time 
and in this way you can blend your different colors 
much easier and at your own ease. When you work 
with dampened paper, use more color, as your tints 
will dry out very light. 

An experienced artist may be able to work very 
satisfactorily without having any special outfit, or 
moistening of paper or tints ready in the saucers, 
but it takes a long time to master this art. I also 


12 


advise students to use colors in tubes, as tubes are 
ready and quickly pressed out on the palette, fur¬ 
thermore they are always clean. Colors in pans, on 
the contrary, are generally passed over and over 
with the brush and are not always clean; they will 
also require considerable rubbing before the neces¬ 
sary color is produced. A list of colors are given 
here which are considered sufficient outfit for a gen¬ 
eral line of Flower and Fruit painting. Of course, 
many more shades are manufactured and could be 
added to the list but for a good all-around outfit the 
following list is sufficient: 

INDIAN YELLOW 
LT. CADMIUM YELLOW 
DK. CADMIUM YELLOW 
VERMILION 
CARMINE 
CRIMSON LAKE 
BURNT SIENNA 
VAN DYKE BROWN 
IVORY BLACK 
PAYNES’ GRAY 

By intermixing these seventeen shades many other 
shades are obtained and these will give you a large 
field of colors. For instance, by mixing INDIAN 
YELLOW with PRUSSIAN BLUE a variety of very 
good GREENS for foliage will be obtained. CAR¬ 
MINE mixed with COBALT BLUE will give a soft, 
good VIOLET and PURPLE tone, etc. If you can 
purchase good quality colors, do so, as good quality 
materials are more reliable and work more satis¬ 
factorily. 

As for Brushes, four or five different sizes will be 
all you need. One small No. 1, two medium No. 4 


RAW SIENNA 
EMERALD GREEN 
COBALT BLUE 
PRUSSIAN BLUE 
HOOKERS GREEN 
No. 1 

HOOKERS GREEN 
No. 2 

CHINESE WHITE 


13 


and No. 6 and two large wash brushes No. 10 and 
No. 12, all pointed. Purchase good paper, for in¬ 
stance, Whatman’s, Fabriano or Arnold’s as these 
three marks are good. However, I do not advise 
using the rough surface paper for student’s work, as 
this quality requires more ability to handle and 
cover. The smooth and medium quality will be far 
better paper for the present. Have it well tacked up 
on the Drawing Board or use paper blocks. Have a 
receptacle for clean water, a slab of white opaque 
glass or a white china palette will complete your 
outfit. 

In painting with Water Colors, begin always at 
the upper part of the picture as we have already 
mentioned. Keep your paper leaning backward and 
not laying flat on the table, as this will allow your 
shades to move downward and will also prevent the 
forming of color pools which would affect the ap¬ 
pearance of the painting. Finish up all your work as 
much as you possibly can with the first coating. The 
least tampering, the better the effect. Sketch down 
the whole picture so as to have a good idea of the 
general effect and then apply the details at the end. 

If you are very little acquainted with Water Color 
Painting Art, you will find a large variety of infor¬ 
mation on the Book “The Teacher of Water Color 
Painting,” by the same writer. List of his books can 
be found elsewhere in this booklet. A catalog show¬ 
ing more complete list of colors, brushes, papers, etc., 
will be sent free of charge by writing this author. 


14 



In Oil painting the colors are fully opaque, or not 
transparent. They cover everything under them. 
To make a light color out of a dark shade, you add 
White, which is also a non-transparent color. 

The more White you use, the lighter will be your 
shade. 

The best medium used is boiled Linseed Oil, per¬ 
haps mixed with turpentine, about half and half, to 
make it less glossy. 


15 


With oil colors you can work almost at your own 
pleasure, as a mistake can easily be covered and an¬ 
other color applied over the mistake. You can re¬ 
touch your painting continually, though I would ad¬ 
vise students to allow the former coating to dry 
perfectly before applying more colors over the pre¬ 
vious day application. 

This is to prevent the accumulation of oil affecting 
the durability of the picture. 

The technique in painting with Oil colors may be 
good or bad according to the attention given to a 
few simple rules in the application of colors. Good 
painting should have freshness of color, good hand¬ 
ling of the brush, and lack of tinkering. Titian is a 
master in technique, while Hals is a master in hand¬ 
ling of the brush. Bougherau is perfect in a fin¬ 
ished technique, while Zorn and Sargent are more 
attentive to simplicity in handling colors. They do 
not tinker and every brush stroke counts. 

In comparing the old masters with the new ones, 
I come to the conclusion that the old masters worked 
over and over their paintings, in this manner pro¬ 
ducing a certain thickness of color and oil causing in 
their paintings a solid surface, resistant to weather 
influences and to change of tone. The modern mas¬ 
ters on the contrary, paint their picture quickly with 
few strokes and with little thickness of color, thereby 
producing a work lacking that deepness of color as 
found in the old master’s work. Murrillo, Rapheal, 
VanDyck, Rembrandt have, you may say, fresh and 
perfect color. Raffaeli paints in the old master’s 
style, so does Sim, and their works look always clear 
and rich. But the tendency of the newcomers is to 
produce effects with very little color, a method re- 


16 



CURRANT SKETCH BY D, M. CAMPANA 

























































. 


■ 

' 




























quiring great training and technical knowledge, but 
having a flat appearance. 

It is very difficult to reproduce Flowers, of Fruits 
or a person’s features with a few strokes of the 
brush, but the modern masters can do it. Summing 
up, students should rather learn to paint with abun¬ 
dance of color than with light and thin ones. A good 
deal of color in a painting will keep fresh without 
much varnishing, while a thin color will acquire that 
mat surface, lacking depth and freshness. I would 
also advise students to avoid mixtures harmful to the 
color and to use as medium in Oil Painting a mixture 
of half turpentine and half boiled linseed oil of good 
quality. While this mixture will act as a varnish for 
the colors, it will not give the gloss that pure linseed 
oil will give to the painting. Too much gloss is un¬ 
desirable and by mixing half of the oil and half tur¬ 
pentine, the proportion will give the correct appear¬ 
ance to the painting without further need of varnish. 
Turpentine alone would give a mat appearance to the 
colors in the picture. These advices will help consid¬ 
erably in starting students toward better work. 

As I have mentioned in the painting with Water 
colors, students should have their subject w T ell drawn 
on the canvas before beginning the application of 
colors. The size, movement, the composition of the 
group must be well understood and drawn. This be¬ 
ing done, half of the work is accomplished. Begin 
now by applying the background, and next paint 
the dark flowers or fruits or anything that is more 
in the shade. These dark parts of the picture are 
the controlling spots of your composition and follow 
up from dark to light and lighter portion of the 
picture until you have the whole canvas covered. 
This first application does not signify any finishing 


17 


of any part of the canvas, but it is a general covering 
of colors, giving you a temporary idea of the general 
color effect of the picture. The details will come 
later when you have found a good, harmonious com¬ 
bination of colors. If you are not quite versed in the 
name of colors, in their mixtures, in the technique 
of painting in Oil, you will find all details given in the 
book, “The Teacher of Oil Painting,” by the same 
writer, as this present book dwells more in matter 
pertaining to painting the different species of Fruit 
and Flowers, it being understood that you already 
know how to handle the colors and the brush. A list 
of Oil colors which will be sufficient for painting 
Fruits and Flowers in general is given as follows: 


Flake White 
Cobalt Blue 
Vermilion 
Raw Sienna 
Burnt Sienna 
Vandyke Brown 
Chrome Yellow, Lt. 
Chrome Yellow, Dk. 


Carmine Lake 
Crimson Lake 
Ivory Black 
Emerald Green 
Cadmium Yellow, Dk. 
Prussian Blue 
Naples Yellow 
1 bottle pale linseed oil 


A list of Brushes is as follows: 

1/2 doz. Bristle Brushes (Flat). 

1 each No. 2, No. 6, No. 10, No. 14, No. 18 and 
No. 20. 


For canvas: You may use cotton canvas for 
sketching, this being sold by the yard. For better 
work you may use linen canvas also sold by the yard. 
Canvas mounted boards are also very useful for out- 
of-door sketching. Stretcher pieces can be bought 
and canvas tacked on by the student. A palette 
about 9x12, an oil cup and an easel will complete 
a fair outfit. The cost may be about $6.00 for 


18 


brushes and colors, $1.00 for one yard of canvas and 
$3.00 for the easel. This easel is not always neces¬ 
sary. Any stick can be used for leaning your arm. 
A complete catalog showing a large variety of ma¬ 
terials used by students and artists will be sent free 
of charge by writing this author. 


CHINA PAINTING 

N CHINA PAINTING you use colors which 
are manufactured from oxide, such as oxide 
of tin, oxide of magnesia, oxide of cobalt, 
etc., combined with such minerals as flint, 
spar, lead, iron, gold, etc. These colors applied over 
the white surface of the China will cover it partly, 
therefore, colors used for China painting may be 
called medium opaque. 

If you take, for instance, a SKY BLUE and apply 
this color over White China in a very thin coat¬ 
ing, the white body of the China will show through 
your color and will give a delicate, nearly white blue. 
Should you use the same blue in a thicker coating, 
the china body will not show through as much as be¬ 
fore and your blue will be darker. This is to show 
you that a thin coat of china color will give you a 
light tint, and a thick coating of the same color will 
give you a dark tint. It is the accumlation of color 
that makes it more or less dark. 

Take a black for instance. Apply a very thin coat¬ 
ing of this shade over the White China. Your color 
will appear as a cold, light gray, while if you use the 
same black in a thick form, the China will be com¬ 
pletely covered and your effect would be solid black. 
It is so with every color in China Painting. This also 



19 




refers to light shades reapplied one over the other. 
This second application will intensify and make the 
color darker. 

Take now a Pink tint. By using a very thick color 
of ROSE color you will have a pretty, delicate pink 
tint. Now take some of the same color and touch 
over the rose with the same shade just as thick as 
you used it on the first application and these two 
coatings will give you a darker tone, because the 
color is thick and the china more heavily covered. I 
hope that you may understand these general rules 
and that when you wish to have dark or light shades, 
you may know by which means to obtain them. For 
instance, when the color is thin, the shades will be 
light and when the color is thick, the shade will be 
dark. This rule applies only to such a surface as 
White porcelain as if the body of your china is dark, 
your light shades would not give you the same effect 
as if the china was plain white. The conclusion is, 
that colors used in china painting are half transpar¬ 
ent and will allow the background to show through 
the color itself. You could never paint a Pink Rose 
over a dark brown surface because the brown sur¬ 
face of the vase would color the Pink shades applied 
over it. 

Another pecularity of China painting is that the 
colors must be burnt into the China or else they will 
rub off. This burning will develop the minerals con¬ 
tained in the colors, making them brilliant, glossy 
and adherent. 

These special pigments are mixed with an oil 
called MIXING MEDIUM. All China colors contain 
a certain quantity of calcined lead which during the 
process of burning will melt and produce the strong 
gloss noticed on all china decoration. This is the 


20 


general idea of the technique of china painting, 
though, of course, there are a good many tricks and 
a good many things to know in order to master all 
the different branches. 

If you intend to become proficient in this branch 
of Art, you should either take a few lessons or con¬ 
sult the books that are given especially to the tech¬ 
nical study of china painting. The book called the 
“Teacher of China Painting,” by this writer, treats 
very thoroughly everything required in the instruc¬ 
tion of painting porcelain. Write him for prices. 

Comparing Water Color painting with this latter 
branch, you will find that they do not vary very 
much, only for the reason that one of them must be 
burned in order to carry out the transparency of the 
colors, otherwise the style of painting is much the 
same and if you can treat well the water colors, you 
will easily treat the china colors. High lights are 
left white on the China and are also left white on the 
paper when paniting with water colors. A satisfac¬ 
tory list of colors for painting Flowers and Fruits on 
China is shown here. Buy colors in powder form: 


Ivory Yellow 
Lemon Yellow 
Egg Yellow 
Yellow Green 
Olive Green 
Shading Green 
Russian Green 
Darkest Green 
Baby Blue 
Turquoise Blue 
Banding Blue 
Royal Blue 


Rose Color 
Ruby Purple 
Crimson Purple 
Outling Black 
Best Black 
Yellow Red 
Dk. Pompadour Red 
Blood Red 
Copenhagen Gray 
Pearl Gray 
Violet Color 


21 


The powder color purchased in small quantity is 
placed on a glass slab and a small quantity of mix¬ 
ing medium poured over this color. Use only 
enough of the medium to give a thick paste, and 
with your palette knife mix down the two in a grind¬ 
ing or rubbing way until they are a smooth paste. 
Set it on the corner of the slab and take another 
color and then another, always doing the same mix¬ 
ing with your palette knife. When you have enough 
colors mixed for your purpose, begin the painting. 

Have at hand a small receptacle with some clean 
turpentine to clean your brushes; have a small re¬ 
ceptacle with a few drops of diluting medium used 
to thin the colors when they are too thick; have your 
brushes in good shape and begin the application of 
your colors. Of course, you must have a fair idea 
of your design drawn on the China before you pro¬ 
ceed with your painting. The drawing can be done 
with a wax pencil or India Ink and both will disap¬ 
pear during the firing. Apply your colors smoothly 
and not thick, using flat brushes called Square 
Shaders. For details you can use outliners. 

When you paint, try always to begin by painting 
the shadows or the heavy shades of the subject, and 
when you have those shades all done, the china is 
burned and the colors will then develop clear and 
glossy. You now apply the general tint all over the 
flowers. Yellow if the flower is yellow, pink if the 
flower is pink, etc., and you cut out the high lights 
needed. You retouch the dark shades with a small 
brush, you detail the leaves, and burn your decora¬ 
tion again. 

After this second firing your decoration should be¬ 
gin to look cleaner and more finished. The back¬ 
ground may be now applied and if necessary a third 


22 


retouching and detailing of the flowers or fruit is 
done. Then the article is fired for the third time. 
Many tricks and things must be learned before you 
can master this kind of work and if you are looking 
for a thorough, technical instruction on the applica¬ 
tion of colors, on the quality of brushes, on the 
method of firing, etc., I would advise you to consult 
a book given especially to this general technique of 
China painting. The book, “The Teacher of China 
Painting,” by the same writer, is a complete text in 
every respect on this subject. 

In painting Flowers and Fruits on China, I advise 
students to follow the fundamental rules in Art and 
make their work as decorative as possible and sub¬ 
servient to the special shape to be decorated, rather 
than trying to make a prominent and out-of-place 
design. Remember that while a group of naturalistic 
Flowers and Fruits will look good on a flat shape, 
they will be out of place on a round vase, or on a 
round article. Therefore, paint Flowers and Fruits 
on plaques or tiles and you will show your apprecia¬ 
tion and knowledge of fundamental Art and will be 
able to display your ability with a good purpose. 

In writing on the fundamental instructions of 
Water coloring and Oil Color painting, I have made 
several suggestions on the form of Flowers and 
leaves, on colors, shapes, forms, etc., and these pre¬ 
liminary points should be followed in all three 
branches of painting. Nature is always the same, 
be it displayed in any kind of form and the shape 
and peculiarities of Flowers and Fruits will always 
be identical. Draw your subject well or have it fully 
in mind before you apply the colors. Also it will be 
wise to group your subject in such a way that the 
whole picture may look harmonious and decorative. 


23 


Well decorated articles show knowledge in disposi¬ 
tion of lines and knowledge in disposition of masses 
of colors and a genuine sense of harmony in general. 

A sufficient outfit of materials for china painting 
comprises the list of colors given on page 21 plus 
1 square shader No. 2, 1 No. 6, 1 No. 8, 1 quill liner 
No. 2, 1 bottle mixing medium, 1 knife—2V2-inch 
blade, 1 oz. turpentine, 1 wax pencil. The whole out¬ 
fit to be about $4.50. Complete catalog showing 
every article used in china, water color and oil color 
painting will be sent free of charge by writing this 
author. 


24 



come 


BACKGROUND 
(Water Color Painting) 


OR water colors I would 
advise you to begin 
from the light part of 
the background and 
gradually to the very 
darkest shades. In water col¬ 
ors, for instance, you could use 
a very watery tint of any light 
YELLOW you may have at 
hand and come down further 
by adding to that color a trifle 
of DARK CADMIUM or perhaps RAW SIENNA. 
If you are painting a landscape picture, your 
background will be the sky, the trees, and the other 
individual parts composing the landscape, and you 
will use the colors accordingly; but on the con¬ 
trary, if you paint a picture of flowers in a vase 
or in a decorative composition, you should give the 
subject a background that is more effective and har- 


25 





monizing with the flowers themselves. For instance, 
dark roses, pink roses, chrysanthemums, or any flow¬ 
ers with a clear, bright color, will harmonize well sur¬ 
rounded by a light gray background, and on the con¬ 
trary, white flowers would make a better effect when 
painted in connection with a dark gray or green 
background. 

The same rule answers also for fruit composition. 
Use plenty of color in your brush, that is, have 
plenty of the liquid, and begin from the top part of 
the picture, coming down quickly and blending your 
colors while they are wet. To be ready for this quick 
tinting, I advise you to prepare the different tints in 
different saucers and have them all ready at hand. 
You will then loose no time in making the needed 
shades when you need them and you will do smoother 
and more perfect work. Taken in general, it is far 
easier to make a light background than a dark one. 
Further down you may add a trifle of BURNT SI¬ 
ENNA and still further, toward the very darkest 
part, you may use VAN DYKE BROWN. This back¬ 
ground will be warm and pretty, but if a more gray¬ 
ish background is desired, you could use a very 
watery wash of COBALT BLUE on the light part 
and add to it more and more of the PAYNES GRAY 
the further down you come until you have it very 
dark. The addition of a small quantity of EMER¬ 
ALD GREEN will make very pretty shades. 

The shadow leaves and flowers in the background 
can be applied when the background is dried, unless 
you wish to make some leaves or flowers very light 
in the background, in which case you must leave the 
space WHITE at first and paint this space after¬ 
wards. In all backgrounds you may leave small 
spaces untouched here or there, which small spaces 


26 


would suggest some uncertain things or high lights. 
You will find that these little touches here and there 
in plain WHITE will give more life to your picture. 


BACKGROUND—(Oil Painting) 

H N OIL COLORS, to make a background you 
could use COBALT BLUE, BLACK or EM¬ 
ERALD GREEN mixed with a good deal of 
WHITE. These three colors would be very 
pretty for a GRAY background. For a BROWN 
BACKGROUND, I would suggest the VAN DYKE 
BROWN for the very darkest parts, followed by 
BURNT SIENNA and still further with the addition 
of ORANGE YELLOW and still further a LIGHT 
CADMIUM YELLOW mixed with WHITE. Later 
you may paint again over the background, but this 
can be done when the former coating is thoroughly 
dried. 

If you wish to make a good and effective back¬ 
ground, you should try to make it very smooth and 
have the colors blend into one another very grad¬ 
ually, because it is this graduated effect of color that 
improves the subject painted in the foreground. If 
you had, for instance, a brown color with a straight 
abrupt line and right close to it a green color also 
ending with a straight line and other colors applied 
in the same way, you could not suggest any sky ef¬ 
fect or background, but if these three or four colors 
were very carefully blended into one another so that 
you could hardly tell where one starts or finishes, 
then you would have a very pretty effect. It will 
give the atmospheric effect to your painting and the 
better the background, the more effective will be the 
general appearance of the decoration. 


27 




As I have mentioned ATMOSPHERE I must re¬ 
mind you that in order to have an easy and light 
effect, the decoration must not be hard and solid and 
this is very well expressed by saying, that you must 
have atmosphere. This word means distance, soft¬ 
ness, life and harmonious colors. 


BACKGROUND—(China Painting) 

N PAINTING flowers or fruits for decorative 
purposes, you will find that they always re¬ 
quire a certain background. This will en¬ 
able the subject in the foreground to appear 
soft and easy and to blend into the air, so to say. 
The background is nothing but a conventionalized 
sky where flowers and fruits are supposed to be de¬ 
picted. In a good many cases the background can 
be of the color of the sky, as for instance, BLUE or 
DEEP BLUE GREEN very delicate and smooth, but 
as in a good many cases the decoration harmonizes 
better with a different color in the background, this 
BLUE sky is changed to delicate shades, as for in¬ 
stance, IVORY YELLOW or YELLOW BROWN or 
GRAY or GREEN, etc., all very well padded down 
and made smooth. To make the effect still more 
pleasing you can apply different colors in the back¬ 
ground, one next to the other and perhaps making 
one side of the decoration all dark by using such a 
dark color as FINISHING BROWN changed into 
HAIR BROWN and still further YELLOW BROWN 
and further yet IMPERIAL IVORY and going to¬ 
ward the lightest part with IVORY YELLOW. This 
effect if well blended together will be very beautiful 



28 




and effective and your flowers will be well connected 
and will not appear loose in the air. 

If the effect should be more in GRAY, use COPEN¬ 
HAGEN BLUE, then follow this dark color with 
COPENHAGEN GRAY and further add very thin 
DEEP BLUE GREEN. Within this background, you 
can always have a suggestion of a flower or fruit 
represented in the general decoration, only you 
should have these subjects very flat and subdued, 
because if they are bright in color or if they have 
too much detail, they will not keep their place in 
the background. Instead they will come forward 
and spoil the effect. 

You may call these flowers, shadow flowers or 
shadow fruits or shadow leaves and apply them while 
you apply the background or else on the first firing, 
to be covered up with the background in the second 
firing. You may also have some suggestion of stems 
here and there, because if there is no stems to hold 
your subjects, they will appear faulty and weak. 

Backgrounds in china painting are generally ap¬ 
plied after the main decorations are painted down, as 
decorators can then more easily decide which color 
to use for this background, and can see which tint¬ 
ing harmonizes with the main subject. Of course 
such a background is more easily handled if the sub¬ 
ject is already burned into the china, but if you are 
careful in not interfering with the fresh decorations, 
you can apply considerable background on the first 
firing. As I have mentioned before, attempt to make 
a smooth tinting, padding the different colors one 
into the other while they are still fresh, and blend 
over the edges of some of the leaves, flowers or fruit, 
as the case may be. The background should be 
worked so that you can not well distinguish where 
one color starts or the other finishes. 

29 


COMPOSITION 


OOD composition implies proper arrange¬ 
ment of dark shades or spots contained in 
the picture. Do not have a very dark effect 
on one side, unless such a dark color is occa¬ 
sionally represented here and there to counter¬ 
balance. After you have planned your design, place 
it in front of a looking-glass and see if it looks cor¬ 
rect. The looking-glass shows your design reversed 
and you can often trace mistakes which you had not 
noticed while working. If you are new at this art, 
I advise you to copy a number of good decorations 
and become acquainted with good designs. Those 
successful works will remain in your memory and 
guide you in your future work. You acquire a good 
habit thereby and derive great advantage. 

COMPOSITION in a WATER COLOR painting or 
OIL COLOR painting, with flowers or fruit as sub¬ 
jects is fairly easily handled. Such paintings are 
mostly representing vases filled with flowers or bas¬ 
kets filled with fruit, and the important task is to 
place those fruit and flowers in a manner that may 
be natural to their character and movement, and 
also in a manner that may give a pleasant, easy ap¬ 
pearance to the picture. Have the vase a little out 
of the center of the picture, more to the right or left, 
this being more appropriate from composition stand¬ 
point. See also that the lines of the table where such 
vase stands, may not come in the center of the pic¬ 
ture, but have it either higher or a trifle lower. Have 
the main subject, the flowers or fruit, in a rather 
solid group and with occasional flowers or loose fruit 
spreading out to give the effect of carelessness. 
There is nothing worse than a picture, showing every 



30 



individual portion, placed just so distant one from 
the other, carefully measured and stiff. Attempt to 
have natural effect. As for the background of your 
pictures, I am of opinion that light backgrounds are 
always better and more decorative. You may have 
the low foreground darker than the upper part, and 
especially if your painting represents flowers, a deli¬ 
cate gray background will help the effect of the 
flowers. 

If you copy a good study or perhaps if you have 
several studies and you wish to copy part from one 
and part from another so as to compose a certain dec¬ 
oration, you should follow a certain rule of disposing 
these flowers or fruit to the very best advantage and 
also according to the shape of the picture to be 
painted. 

Flowers or fruit paintings, in a loose composition 
such as a ceiling, a screen, a curtain, etc., where you 
try to reproduce your subject in a decorative, airy 
fashion, composition is considerably more difficult. 
The lightness of the movement of the different 
branches and stems, the masses of colors necessary 
to balance your picture, the blending of shades, 
clouds, etc., complicate matters to a large extent. 
Have always a certain group at the lower end of the 
painting and use there more strength of color and 
place several flowers or fruit, as the case may be. 
Make this your base. Spread out your background 
in a cloudy form, and arrange several branches from 
the main group outward. Do not have them straight 
or stiff. Allow your background to cover part of 
those branches, here or there. Have other branches 
running in different directions, but in a very natural 
subdued tone, to imitate distance. Have on the oppo¬ 
site side of your main group a certain amount of this 


31 


same color effect to counter-balance the picture. In 
other words, a composition of this kind must be of 
easy lines and movement. 

Should you wish to decorate a piece of porcelain, 
your space will be limited and the shape of the china 
will also be relatively limited. If you have to paint 
a water color or oil color picture you should gener¬ 
ally have an oblong or square space, which is easier 
to decorate. But for the china, which sometimes is 
a vase with a round shape and where your decora¬ 
tion must run around that special shape, your task is 
rather difficult. 

One of the most important things is to have a 
simple subject as consistent with the size of the 
china. Do not overcrowd or paint flowers and fruits 
with the purpose of covering all of the china or pic¬ 
ture, because your decoration will look heavy and 
undecorative. For instance, if you are to decorate 
a round vase, say, for instance, a cylinder vase ten 
inches high, I would suggest that you put the flowers 
or fruits at about Tour inches from the top, because 
you then have considerable space below for a little 
display of background. For instance, if your subject 
is supposed to be ROSES, you can paint two or three 
at the utmost, the roses being about the size of a 
fifty-cent silver piece. Dispose them one near to the 
other, but not necessarily very close, leaving some 
occasional space between them, where you can have 
dark touches to help you in carrying out the effect. 

You can add a number of leaves in clusters of 
three or five and these leaves should be rather small, 
perhaps the size of a five-cent piece. You can put 
one of these clusters of leaves on the upper part of 
the three roses and two or three clusters on the 
lower part and moving around a little further on the 


32 



VIOLET STUDY BY D. M. CAMPANA 













































































































































































































































" 










vase, you may add one or two more roses with one 
or two more clusters of leaves toward the back of 
your main group. Here you paint smaller things, 
such as buds or perhaps one rose. 

Of course, all these roses must be connected with 
stems which, however, should be very delicate and 
light. Coming down from the main group of roses, 
you may paint one small rose below, about two inches 
from the bottom and a stem coming from the main 
group curving toward the lower roses. You must be 
certain that these stems do not come down straight, 
as it will make a very bad effect. You should always 
have leaves here and there and if you dispose these 
leaves in good form you will be able to make a 
pretty composition in your china. 

This short description is just an idea of how you 
may compose a certain decoration on a vase such as 
a cylinder vase. By placing these flowers higher 
than the center, your decoration will be more appro¬ 
priate than if you placed them at the center and di¬ 
vided the vase in two halves. Of course, you could 
also paint them at a lower part of the vase and have 
a light decoration at the upper part. 

You should always try to balance the effect by 
having the main decoration at one side and other 
light subjects placed here and there so as to balance 
the composition. Of course, the same rule is to be 
followed by flowers or any other kind of decoration. 

If you have a tall vase your composition should be 
generally on flowers or fruits that have long stems. 
You can move them from top to bottom or from bot¬ 
tom to top. If your china vases are low and squatty, 
you may use a flower or fruit with a short stem, but 
do not fill all the ground in sight. Have some space 


S3 


for a considerable amount of background, which 
gives the atmosphere to the whole. 

If you paint Water Color paintings or Oil paint¬ 
ings, your scope is much larger and you can work 
more freely because the surface that you paint is 
flat and is fully embraced by the eye when you 
look at it. 

Good composition is one of the most important 
things for a decorator and if you will try to be simple 
and have light colors you will have a proper idea and 
will work in the right direction even if your work is 
not perfectly correct. 

On a round article, such as a plate or a round pic¬ 
ture, the main decoration should be placed at one 
side, leaving the other part to be occupied by the 
background. Background does the function of sky 
and is expected to add air, or easiness, to the subject 
represented. 


34 



FLOWERS 
AND FRUIT 

« HE most popular flowers 
among students and 
you may say with the 
public, are: Roses, 

Violets, Forget-me-nots, Wild 
Roses, Apple Blossoms, Carna¬ 
tions, Lily of the Valley, Pop- 
p i e s, Pansies, Chrysanthe¬ 
mums, Daffodils, Morning Glories, Daisies, Nastur¬ 
tiums, Snowballs, Cornflowers, Cherry Blossoms, and 
many others. Beginning with the Roses, I will give 
the four shades mostly painted, these being Pink 
Rose, Dark Red Rose, called American Beauty, Yel¬ 
low Rose and the White Rose. Before you begin to 
paint these roses you should have a fair idea of every 
characteristic shape. Some of the roses are wide 
open, while others are in the shape of a bud with an 


35 




occasional petal at the side. Others are in a close 
round form with a dark center, some have a good 
many petals and some have only a few. 

Pink Roses—(Water Color Painting) 

It is understood that a perfect drawing of the sub¬ 
ject must be had before the application of colors be¬ 
gin. To paint Pink Roses in water color, use the Car¬ 
mine Lake, as this color is brilliant and full of body, 
also much preferable to the bright shades such as 
Saflowers, Geranium Lake or such very bright 
shades, which will fade when placed in the light. 
Paint Pink Roses in water color much like you would 
paint them on china, that is, by beginning at the 
center and by applying one broad shadow on one side. 
Gradually you paint the shadows on the outer petals 
and when these parts are finished you can wash over 
the delicate Rose tint covering the whole rose, but 
the high lights which should be kept white. 

Near the attachment of the petals to the main 
body of the rose, there is always a delicate shade of 
Emerald Green very light or Cadmium Yellow light. 
Of course, in water colors it is necessary to finish up 
your flower as you are working at it and as the color 
dries quickly it will be easy for the student to re¬ 
touch and strengthen the shades if they appear to 
be a little too light. 

Dark Red Roses—(Water Color Painting) 

A very satisfactory color for Dark Red Roses in 
water color painting is Crimson Lake and this color 
will give a very deep tone. As a general rule you 
should begin to apply the darkest parts at the center 
and the shades of the different petals. When this 
dark shading is completed, you can tint over the 
whole rose with a medium-heavy wash of Carmine 
Lake. You may, of course, leave out a few high 


36 


lights, especially around the edges of the petals, to 
make the flower more crisp. 

Should you desire to have a trifle of very dark tone 
you may add to the Crimson Lake a trifle of Paynes 
Grey or Ivory Black. 

Yellow Roses—(Water Color Painting) 

To paint Yellow Roses in water colors I would ad¬ 
vise you to use the Raw Sienna for the shading and 
Dark Cadmium Yellow for the central touches and 
also for some of the transparencies near the attach¬ 
ment of the petals. Of course, some of the Yellow 
Roses can be painted by using a pale thin coating of 
color, but there are also Yellow Roses that are 
painted with bright colors, especially if you need a 
little bright effect for your picture. 

White Roses—(Water Color Painting) 

White Roses in water color painting must be 
treated very carefully, because if you use too much 
of the Grey for the shading, the rose will look black 
and bad. A very small touch of Paynes Grey will be 
a good color for the delicate shades and in some of 
the cooler tones, a trifle of Emerald Green will be 
very proper. 

The center of the WhiteRose being a trifle warmer 
than the general color in the rose, should be painted 
with a very little quantity of Carmine or perhaps of 
the Dark Cadmium Yellow. 

The general rule for painting roses in water color 
must be altered if necessary to conform with the 
general effect of the picture, as for instance, if the 
picture requires your roses to be more delicate or 
more in the light coloring, you should use your judg¬ 
ment and change the color accordingly. 

Be certain and use plenty of color in your brush 
and apply such a color in a broad snappy way, be- 


37 


cause flowers are very airy and should be reproduced 
as lightly as possible. 

Roses—(Oil Painting) 

We wish to give also a general list of colors used 
for the painting of roses in oil painting. Of course, 
in oil painting you will have the advantage of apply¬ 
ing color over color without spoiling the picture, a 
thing you cannot do in water color painting. For in¬ 
stance, if your color is too light, you can paint over 
it and make such colors dark, also a dark color can be 
made light simply by covering this dark color with a 
lighter one. 

For Pink Roses we would use the Carmine mixed 
with the Flake White to suit your purpose. Of 
course, the more the WHITE the lighter will be the 
color. 

For Dark Roses, the CRIMSON LAKE is a very 
good color and this can also be reduced to suit your 
purpose by adding to it a trifle of WHITE or a trifle 
of IVORY BLACK if a darker tone is needed. 

For Yellow Roses the Raw Sienna for the shading, 
mixed with a trifle of Chrome Yellow Light and a 
little White. For the center of the rose Chrome 
Orange will be a very effective color. 

For White Roses in Oil color a very small touch of 
Ivory Black mixed with White will do very well for 
the shading and a trifle of Carmine or a trifle of 
Orange as used on the Yellow Rose for the center. 

These general colors are no doubt the best and you 
may use your judgment by adding a trifle of some 
other shades (if you do not have these special colors 
at hand) or if the general color of the picture re¬ 
quires some changes of this effect. 

Pink Roses—(China Painting) 

If you wish to paint a Pink Rose on china I would 


88 


advise you to use ROSE COLOR entirely. With your 
brush draw an approximate size of the rose made in 
few lines, as if you would want to outline it. When 
you have the size of the rose you may apply the 
center and a big large shadow on one side of the 
rose, also some of the big petals and the twisted 
petals that cross over the roses at the body. 

The small illustration herewith will give you a 
little idea of how roses are started and carried out. 
Do not use the color lumpy, as the ROSE COLOR or 
PINKS used for roses are of a peculiar nature and 
are liable to fire a trifle matt if applied too heavy. 

In painting not only roses but almost any subject, 
on china, remember that you should not attempt to 
finish it in one application, but that you still have 
another firing or two in which you can strengthen 
your subject and apply more colors. On the second 
firing you can retouch the center of the rose with 
some of the Rose Color used before and shade all 
over the rose with a very thin coating of this tint. 
It is a bad taste to mix your ROSE COLOR with any 
other Grey or Blue. Try to keep it clean, because 
pink roses are very clear and should be painted with 
clear colors. Shold you wish to have the center of 
the rose a trifle darker, you may use a small quan¬ 
tity of American Beauty Color which is a shade 
darker than the Rose Color. By all means have thin 
washes of these colors in order to prevent any rough¬ 
ness of the color or chipping off. 

The details of the rose should always be applied 
on the end with a small lining brush. Other colors 
used for Rose Painting are PEACH BLOSSOM, 
SWEET PEA PINK, all of which are used for pink 
roses and require a stronger firing than some of the 
other shades. It is also advisable to fire roses on the 


89 


very back part of the kiln where the firing is the 
strongest and where they can receive a strong 
heat. A badly fired pink rose will appear matt, the 
color being not properly developed. 

American Beauty Roses—(China Painting) 

The American Beauty Roses are properly painted 
with Ruby Purple No. 2 or Crimson Purple. We 
would rather have the Ruby Purple No. 2 because it 
is more solid and brilliant. In painting roses of any 
kind always start from the center, as the center 
shows the strongest shadows and this point should, 
therefore, be the beginning of the rose. When you 
have the center applied, apply the shadow on one 
side of the rose, and also some of the large petals. 
Use this first color application medium-heavy and 
leave a good deal of the light part of the rose plain 
white, as this white part will be shaded in on the 
second firing. For instance, if on the first firing you 
apply all the shadows and have the opposite side of 
the rose white, on the second firing you can paint 
over the whole with a wash of American Beauty 
color covering every part of the rose. The darker 
parts painted on the first firing, will show very nicely. 

Of course, if you cannot finish up the rose in two 
firings you can retouch it for the third time, using 
the Ruby Purple No. 2. Should you desire to add a 
trifle of the Black to your Ruby Purple, use Purple 
Black rather than any other color, as this Black 
mixes very well with the Purple and Ruby. If this 
special color is not at hand, use the Darkest Green. 

In painting roses, always have a crisp, sharp touch, 
because flowers by themselves are crisp and light 
and the handling of your brush has a good deal to do 
in making the roses airy. Details come at the end 
and are applied with a small pointed liner. 


40 


Yellow Roses—(China Painting) 

Using the same method of painting Yellow Roses 
as we did with Pink Roses and American Beauty 
Roses, we will apply the darkest parts first. For the 
center of the Yellow Rose you may use Yellow 
Brown, clean and pure. For the shadows around the 
rose and on the petals you can use a wash of Brown 
Green mixed with one-third Yellow Brown but be 
certain not to apply these shadows too heavy. Work 
around with care and leave the flat part of the rose 
plain white. 

On the second firing you can wash over the whole 
rose with a delicate wash of Lemon Yellow or, if you 
prefer a little warmer color, you may use Egg Yel¬ 
low. You may again retouch the center of the Yel¬ 
low Brown as you did before. Apply the small 
touches with a small brush, using the mixture of 
Brown Green and Yellow Brown, and if you have any 
reflected light at the petals use Egg Yellow. 

White Roses—(China Painting) 

The White Roses are generally painted with pink 
centers or sometimes with a Yellow Center and these 
shades at the center of the rose will look pretty and 
decorative. You, therefore, should apply the center 
either by using Rose Color rather thin or thin touches 
of the Egg Yellow. For the shadow at one side of 
the rose and also at the outer petals, you may use 
Copenhagen Grey. The light part of the rose should 
be kept white not only on the first firing but also on 
the second firing and perhaps, if you need a little bit 
of tinting to alter the monotony, you may add here 
and there a little touch of Rose Color. 

Violets—(Water Color Painting) 

To make a good violet color in w*ater color paint¬ 
ing you could mix the COBALT BLUE with a trifle 


41 


of CARMINE or if you do not have this color, with 
CRIMSON LAKE or any similar color. NEW BLUE 
is also a fair color instead of COBALT BLUE and 
RUSSIAN BLUE will also be good, only much darker. 
You may be able to purchase a MAUVE COLOR and 
this would make a very good violet shade. These colors 
would be proper for both single and double violets. 

In the center of the single violets a touch of DARK 
CADMIUM YELLOW will be very proper. For the 
center of the double violets a small touch of EMER¬ 
ALD GREEN will be very effective. Apply the pe¬ 
tals of the single violets in one flat touch of color. 
Be sure that your brush is full of the color and do 
not tamper with it. Apply the two top petals in two 
touches and the three lower ones in three touches, 
leaving the small center plain white. You may put 
the small dark spots when the first coating is dried. 

On the double violets you may use your brush in 
a round fashion, and working it toward the center, 
suggesting many petals. Small details will be ap¬ 
plied when the first coating is dried. 

Violets—(Oil Painting) 

COBALT BLUE mixed with a trifle of CARMINE 
or CRIMSON LAKE will make a very deep Violet 
tone for the Violets and if you add to it a trifle of 
WHITE you will have a very pretty shade. As we 
mentioned also in the painting of Roses, the White 
color is nearly always mixed with the varied shades 
used, as this is the only method for making lighter 
shades. Use the same color for single or double vio¬ 
lets, adding more or less Carmine and Blue or White, 
as you may need. 

For the center of Single Violets use a trifle of 
Chrome Orange and for Double Violets a trifle of 
Emerald Green mixed with White. 


Violets—(China Painting) 

A good color for the painting of Violets in china 
decoration is the VIOLET COLOR No. 2, as I think 
this color is a rather bluish and makes a very- 
proper shade for this pretty flower. If you should 
desire to paint this flower with a slightly purplish 
shade, you could use VIOLET COLOR. If you do 
not have any of the VIOLET COLORS, mix the 
BANDING BLUE with one-fourth of RUBY PUR¬ 
PLE No. 2 and this mixture will give you a very 
satisfactory Violet shade with which to paint the 
violets. 

I think that you could use this color both for single 
or double violets. You will notice that all single vio¬ 
lets have five petals and if you use a good sized 
square shader you should be able to paint every 
petal with one single touch. We have mentioned in 
the chapter on Roses that the handling of the brush 
will make the flower easy, proper and delicate, and 
also in the painting of Violets if you can make every 
petal with one broad touch, you will be surprised of 
the effect that you attain from the simple handling 
of the brush. 

In painting Violets apply a flat tint very much 
alike on all petals and on the second firing you can 
always shade the lower center petals and apply the 
little dark lines below the small seed at the center. 
Of course, you must cut out the small central space, 
where the color should be placed later, using Egg 
Yellow or a thin Yellow Brown tint. 

The Double Violets you may paint with a broad 
flat coating by using several strokes of the brush, 
moving the brush always toward the center and you 
will in this way produce a good effect of the Double 
Violets. In the center apply a delicate wash of 


43 


Apple Green and while the color is wet you can cut 
out a few high lights on the VIOLET COLOR and 
also on the APPLE GREEN center. 

Details should be applied on the second firing and 
by repating the colors as used before. If you wish 
to make a heavy color you may add to your violet 
tint a very small quantity of PURPLE BLACK, as 
this color mixes very nicely with all Purples and 
Violet tones. 

Forget-me-nots—(China Painting) 

Forget-me-nots are flowers very much used for 
china decorations, as this peculiar pretty color makes 
also a very quick saleable decorated china. Forget- 
me-nots, like Roses and Violets, depend entirely on 
the touches of the brush and you should use for this 
flower a medium sized pointed brush large enough to 
paint one petal for every touch. 

Use DEEP BLUE GREEN for Forget-me-nots and 
if this is not at hand, you may use the TURQUOISE 
BLUE. Apply the flower in a flat five small touches, 
leaving the center plain white. The darker shading 
of the flower you can apply later on the second firing 
The center of the Forget-me-not is in a thin touch of 
EGG YELLOW and one small point of CARNATION 
or YELLOW RED No. 2 in the center. 

In painting this delicate flower you should not at¬ 
tempt to overwork them, but apply your colors in a 
crisp, easy way and you will be more certain of mak¬ 
ing a flower which will be more decorative and 
pretty. 

Forget-me-nots—(Water Color Painting) 

Cobalt Blue makes a very pretty color for the 
painting of Forget-me-nots in water color. If you 
do not have this color NEW BLUE or even RUS¬ 
SIAN BLUE, but I would suggest the first two colors 


44 


if you can find them. Apply the flower in a flat 
touch, using one touch for every petal and when the 
first tinting is finished and dried you can always ap¬ 
ply the darker shadings. Use the color well diluted 
with water to produce the proper shade. 

Be certain and leave the center plain white, as this 
center will be covered afterward with a small touch 
of any light Yellow and one point in the center with 
any Red you may have at hand. 

Forget-me-nots—(Oil Painting) 

In Oil painting FLAKE WHITE or any good white 
mixed with a trifle of COBALT BLUE will give the 
proper color for Forget-me-nots. By adding more 
blue to the white you will make the color darker and 
darker. The center will be in white mixed with 
Yellow, with a small point in any Red you may have 
at hand, in the center. If you don’t have Cobalt Blue 
use New Blue or Permanent Blue. 

Use a small, flat Russian sable brush, and do not 
overwork the flowers, least they become clumsy and 
undecorative. 

Wild Roses—(China Painting) 

Wild Roses belong to the family of other roses, 
only their shape is lighter and simplified. This 
flower has generally five petals which should be 
painted in a very simple manner with as few touches 
as possible. 

I would advise you to paint on at first the shadows 
of the flowers, using ROSE COLOR or if this color 
is not at hand with PEACH BLOSSOM. Use a large 
brush for this purpose and apply in large, smooth 
touches, leaving some of the high lights plain white. 

On the second firing you will be able to cover all 
the rose and the shadows underneath will show the 
shape of the rose very nicely. The center is made in 


45 


BROWN GREEN and will be worked out with a 
small pointed brush applying small round touches for 
every one of the little seeds which make a cup-like 
shape in the center of the rose. 

On the second firing you can wash all over this 
central cup a thin wash of ALBERT YELLOW or 
MOSS GREEN. If you paint several of the wild 
roses in a cluster, you may have one a trifle darker 
than the others just to give a better color effect. 
Any small details or touches should be applied with 
a small pointed brush. 

Wild Rose—(Water Color Painting) 

For water color painting, a proper color to be used 
in wild roses would be CARMINE LAKE. Of course, 
there are other colors very brilliant and also good, 
but those are more expensive and CARMINE LAKE 
would be satisfactory in every respect. 

Have your brush full of color and see that the 
color is very light because wild roses are of a very 
delicate pink tone. Apply the roses by using large 
touches and leave occasional high lights here and 
there to give crispness to the effect. 

When the first tint is dried you may add some of 
the darker shades. The seeds in the center are 
painted with a small brush by using INDIAN YEL¬ 
LOW, perhaps mixed with a trifle of HOOKER’S 
GREEN. Apply more or less of the yellow as you 
may find necessary. 

Wild Roses—(Oil Painting) 

The CARMINE LAKE will be a good color also in 
oil painting, provided you mix it with a considerable 
quantity of FLAKE WHITE. If the color is not bril¬ 
liant enough for your purpose you may add a trifle 
of VERMILION RED. 


46 


The shadows are made simply by using more of 
the CARMINE or less of the WHITE. The center 
seeds are painted also with a small brush and you 
may use a trifle of RAW SIENNA with a small quan- 
tiy of WHITE and of any GREEN that you may 
have at hand. 

Apple Blossoms—(China Painting) 

The best method of painting Apple Blossoms with 
china colors will be to apply a very delicate shade of 
GREY such, as for instance, COPENHAGEN GREY 
or perhaps ASHES of ROSES and cover the whole 
flower very smoothly and then with a dry brush cut 
out the high lights. Of course, you may apply the 
shadows direct, leaving the high lights plain white 
on the china as I have taught you in the painting 
of roses, etc., but if you are acquainted with this 
method of cutting out the high lights you will find 
this to be a very effective method. 

The small seeds in the center are painted in Egg 
Yellow. When you have fired this delicate shade of 
grey, you may wash all over the flower a very thin 
coating of ROSE COLOR or PEACH BLOSSOM and 
be certain to apply this thin coating very smoothly. 
You will have a pretty effect and very soft indeed. 

Of course, you may use the ROSE COLOR in the 
first firing instead of the COPENHAGEN GREY, 
but this later color will make a far better effect. 
Some of the buds may be covered with a trifle of 
AMERICAN BEAUTY COLOR or perhaps RUBY 
PURPLE. Apply the details with a small brush, 
using either AMERICAN BEAUTY COLOR or 
RUBY PURPLE. 

Apple Blossoms—(Water Color Painting) 

The CARMINE LAKE will make a very pretty 
shade for apple blossoms in water color painting. I 


47 


would suggest that you apply the shadows of the 
flower with a very thin touch of CARMINE LAKE 
and leave the high lights plain white. 

For the seeds in the center you can use INDIAN 
YELLOW and for the heavier touches in the buds 
you can use the CARMINE only a trifle heavier. 
When we mention a thin coating of any color, the 
student should understand that the thin coating in 
water color painting is only made by mixing the 
color with more water. The more water the thinner 
will be the coating. All details of the flower should 
be applied at the end with a small brush. 



48 




INK STUDIES BY D. M. CAMPANA 















* 








- IE 































' - 

















Apple Blossoms—(Oil Painting) 

FLAKE WHITE with a very small quantity of 
CARMINE LAKE will also make a very pretty color 
for this delicate flower. You may apply a general 
coating all over the flower and by adding more 
WHITE to the color you can apply the high lights 
at the end. 

The seeds in the center are in DARK CHROME 
YELLOW or DARK CADMIUM YELLOW. Of 
course, some colors may be changed a little as if you 
did not have exactly the same colors that I mention 
in this lesson you should substitute as close to those 
shades as you possibly can. 

Carnations—(China Painting) 

There is a very large variety of Carnations, some 
being White, some being Red, some being Pink, some 
being Yellow, some Purple and some are covered 
with many delicate lines. The very best method in 
china painting will be the covering of the flowers 
with a flat, general color and cutting out afterwards 
(while the color is still wet), the different petals. 
For white carnations I would advise the COPEN¬ 
HAGEN GREY, for red carnations the CARNATION 
RED, for pink carnations the PEACH BLOSSOM, 
for purple carnations the RUBY PURPLE No. 2, for 
yellow carnations the FLESH SHADOW, very thin. 

When the petals are carefully cut out you may fire 
your china and wash over them on the second firing 
a very thin tint of either RED, PINK, or LEMON 
YELLOW, according to the special color of the 
flowers. Have a few clean WHITE high lights. 

Carnations—(Water Color Painting) 

In water color painting you must apply the deli¬ 
cate petals of the carnation without covering the 
high lights. Do not use a very large brush, as there 


49 


are very many small touches. For white carnations 
you may use a very thin coating of PAYNES GREY, 
for pink carnations you may use a light coating of 
CARMINE LAKE, for red carnations you may use 
FRENCH VERMILION, for purple carnations you 
may use CRIMSON LAKE and for yellow carnations 
DARK CADMIUM YELLOW shaded down with a 
trifle of RAW SIENNA. 

Carnations—(Oil Painting) 

In oil painting you will paint these flowers with a 
small brush and the touches applied so that every 
touch will be one petal. Start from the outside petal 
and come toward the center. For white carnations 
use WHITE mixed with a small quantity of IVORY 
BLACK and COBALT BLUE. For the pink carna¬ 
tion use CARMINE LAKE and WHITE, more or less 
of the WHITE, according to the case. For purple 
carnations use CRIMSON LAKE and add to it a trifle 
of WHITE if necessary. For red carnations I would 
advise you to use the VERMILION, which can be 
mixed with a trifle of CRIMSON LAKE for dark 
touches. For yellow carnations you may use DARK 
CADMIUM YELLOW, LIGHT CADMIUM YEL¬ 
LOW and WHITE according to the shade desired. 

In all cases apply the small details and high lights 
on the very end with a small brush. 

Lily of the Valley and Narcissus—(China Paintng) 
Both Lily of the Valley and Narcissus are delicate 
white flowers for which I will give only one rule of 
colors because both of them can be painted with the 
very same colors. Such a delicate flower as these 
two are very easily spoiled if they are painted with 
too much color and therefore, I instruct you to use 
your shading very sparingly and leave a good many 
high lights. 


50 


The delicate shading is made with COPENHAGEN 
GREY used very thin and be certain to leave high 
lights on one side and have your shadows on the 
other side of the flower. There is a delicate YELLOW 
TONE in the center of the flower which can be ap¬ 
plied on the second firing, but on the Narcissus this 
YELLOW TONE should be a trifle darker than in 
the lily of the valley. In fact, the small cup in the 
center of the narcissus has sometimes a hue of 
LEMON YELLOW. For the center of the lily of the 
valley you may use also LEMON YELLOW but very 
thin. 

Apply the shadows with COPENHAGEN GREY 
and the small details with the same color only by 
using a small liner. On the second firing you may 
use the same color applied with a small brush. 

Lily of the Valley and Narcissus— 

(Water Color Painting) 

For water color painting I would advise you to use 
a very thin coating of PAYNES GREY mixed with 
a trifle of EMERALD GREEN to be used for the 
shading of the Lily of the Valley and Narcissus. 
Apply the delicate shading with a very quick and 
accurate touch and be careful that you do not apply 
too much color which would make the flower very 
heavy and bad. Use a small brush for the details 
and use CADMIUM YELLOW LIGHT for the 
center. 

Lily of the Valley and Narcissus—(Oil Painting) 

A very small quantity of IVORY BLACK and 
COPENHAGEN BLUE mixed with WHITE will 
make a good shading for Lily of the Valley and 
Narcissus. Apply the high lights with pure clean 
WHITE and the center of these floWers can be 
painted at the end with a small touch of CHROME 


51 


YELLOW DARK and WHITE. The high lights, of 
course, are in plain WHITE. 

Poppies—(China Painting) (See page 35) 

In painting poppies with china color you should 
use a large square shader and apply this flower in 
very broad big touches. These flowers as so simple 
in form that it is absolutely necessary to paint them 
with a simple method. I would advise you to apply 
only the shadows on one side of the flower, leaving 
the opposite side plain white. You may use POPPY 
RED or if this color is not at hand you may use the 
YELLOW RED. These two colors are similar and 
will both give good results. 

Paint a few delicate touches at the edge of the 
petals as if you would outline them. These few 
touches will reproduce the crispness of the petals at 
the edge where there are many small folds left by 
the flower when it was in a bud form. 

The center of the poppy should be left white and 
painted in APPLE GREEN. You will notice that 
this flower has a center made like a small button and 
you must try to reproduce it exactly so. There are 
also small black seeds around the center and these 
can be painted with BEST BLACK. 

On the second firing you may apply Poppy Red 
covering the w T hole flower light or dark, but have a 
few high lights cut out plain WHITE. This color 
refers to field poppies and also to some of the double 
poppies which are much larger than the poppies you 
find in the field. 

For pink poppies I would use the SWEET PEA 
PINK and for white poppies I would use in the shad¬ 
ing the COPENHAGEN GREY. The center of all 
these poppies have about the same color. Apply little 
touches with a small brush and besides our sugges- 


52 


tions you may also use your own judgment in case 
you notice that a small change might improve the 
flower. 

Japanese Poppies—(Water Color Painting) 

In water color painting VERMILION RED will be 
a very appropriate color. If this color is a trifle too 
light you may add to it a small quantity of CAR¬ 
MINE. Apply this color with a large brush and have 
plenty of color so that the touch will be rich and 
smooth. For the light shades you may use the same 
color only very watery and for the center of the 
flower you may use EMERALD GREEN with light 
small touches of IVORY BLACK for the seeds. 

For light delicate pink poppies the CARMINE 
mixed with water will give a pretty shade and for 
white poppies water with a trifle of PAYNES GREY 
will be very appropriate. EMERALD GREEN and 
IVORY BLACK will be used for the center. 

Japanese Poppies—(Oil Painting) 

In oil painting you may use also the VERMILION 
RED for varied poppies perhaps mixed here and 
there with a trifle of WHITE and in the dark places 
with CARMINE LAKE. The center can be made in 
any light GREEN that you may have at hand and 
the little seeds can be made with IVORY BLACK. 
Use more or less WHITE with the VERMILION as 
you may find necessary. 

For pink poppies use WHITE and a trifle of CAR¬ 
MINE and for white poppies a trifle of BLACK 
mixed with WHITE. 

Pansies—(China Painting) (See page 3) 

The large variety of pansies and the extensive 
variety of color effects of this flower, will make it 
necessary for me to give a general rule on how to 
paint them rather than an exact list of colors. I 


53 


would say that almost any color is good for painting 
pansies beginning with VIOLET, PURPLE, OR¬ 
ANGE, YELLOW, GREY, BLACK, RED, and in 
fact, any color in the palette. 

The best method for painting pansies on china 
would be to give a definite outline of the flower itself 
showing a dented edge, and when you have this 
shape planned out you can apply the dark lines at 
the lower three petals. 

Remember that the center of the pansies is in a 
delicate ORANGE color or you may also use EGG 
YELLOW or YELLOW BROWN. These dark spots 
in the center of the three lower petals give the char¬ 
acter to the flower, and afterward you may apply the 
ragged shading generally seen toward the outer edge 
of the three lower petals. This color is sometimes 
similar to the three dark spots at the center but 
sometimes is of a much lighter color. The two upper 
petals are generally lighter than the other three. 

As I mentioned in the beginning, you may use 
almost any color if you are able to keep the shape of 
the flower and you will always have a good effect. 
PURPLE BLACK mixed with a trifle of RUBY PUR¬ 
PLE No. 2 or CRIMSON PURPLE will make a very 
good dark shade. VIOLET COLOR No. 2 mixes al¬ 
ways very well with PURPLE BLACK and gives a 
beautiful dark tone. These colors RUBY PURPLE 
No. 2, VIOLET No. 2, PURPLE BLACK, ORANGE, 
YELLOW, and LEMON YELLOW are colors that 
will make always good shades for pansies in china 
painting. 

For white pansies I would advise COPENHAGEN 
GREY and if necessary, the addition of some of the 
colors already mentioned. 


54 


Pansies—(Water Color Painting) 

As I stated on the painting of pansies on china, 
there are so many varieties of colors and effects in 
the family of pansies that almost any color will be 
appropriate for the purpose. Trace lightly the shape 
of the flower and apply at first the dark ragged spots 
at the center of the three lower petals. Apply after¬ 
wards the different colors on the edges of the flowers 
and use plenty of water so that your touches will 
look easy and smooth. Apply your colors freely and 
do not tinker because if you are afraid you will al¬ 
ways make a bad mess of the work. 

You may use the following colors according to the 
pansies that you wish to paint: CARMINE LAKE 
mixed with COBALT BLUE will make a beautiful 
PURPLE tone, mixed with PRUSSIAN BLUE it 
will make a still darker PURPLE shade. IVORY 
BLACK, DARK CADMIUM YELLOW, LIGHT 
CADMIUM YELLOW, BURNT SIENNA, PAYNES 
GREY and occasional touches of VERMILION will 
be good colors for the painting of pansies in water 
colors. 

For white pansies use PAYNES GREY very thin 
and be certain to leave the center of the flower plain 
white and cover this part with a DARK YELLOW 
tone which you may have at hand. 

Pansies—(Oil Painting) 

If you read the description of pansies as given in 
water colors, I think this will give you an idea of the 
colors to be used also in oil painting. The advantage 
that you have in oil painting is that you can put 
down almost any color in the beginning, and you can 
afterwards mix these colors with WHITE and give a 
quantity of high lights, finishing up the flower very 
quickly. 


55 


In painting pansies apply the darker colors at first 
and follow this up with medium dark shades, and on 
the end add more of the WHITE for high lights. 
IVORY BLACK, COBALT BLUE, CRIMSON LAKE, 
ORANGE YELLOW, RAW SIENNA, BURNT SI¬ 
ENNA and WHITE mixed according to the need are 
good. The CARMINE mixed with COBALT BLUE 
will make a beautiful VIOLET and IVORY BLACK 
mixed with WHITE will make a good GREY. Allow 
your colors to dry perfectly before you retouch your 
painting so as to avoid the painting from becoming 
dark and muddy. 

Chrysanthemums—(China Painting) 

For yellow Chrysanthemums in china painting you 
may use BROWN GREEN for the shading. On the 
first firing apply only the shadows using exclusively 
the BROWN GREEN and leaving the other parts 
plain WHITE. On the second firing you may wash 
all over the shadows and high lights with EGG 
YELLOW and your flower will be correct. Of course, 
touches of darker shadows can be applied now with 
a small brush and by using the BROWN GREEN 
again. 

For red chrysanthemums I would advise you to 
use DARK POMPADOUR for the first firing, paint¬ 
ing on only the shadows and leaving the light parts 
plain white. On the second firing you wash all over 
a medium thick coating of YELLOW RED No. 2 or 
POPPY RED. Should these colors be not at hand 
use CARNATION. Dark touches may be applied 
with VIOLET of IRON, using a small trifle of it. 

The center of RED, WHITE and other colors in 
chrysanthemums is always a trifle YELLOW and 
you may paint this part with LEMON YELLOW. 
For white chrysanthemums use COPENHAGEN 


06 


GREY and leave the high lights plain WHITE. To 
make the effect pretty I would advise you to paint 
the center of the flowers in ROSE COLOR. Other 
shades found in this kind of flowers are VIOLET of 
IRON, YELLOW BROWN and many other shades. 
Apply the petals with touches trying to imitate the 
shape of the petals themselves and do not feel afraid 
of making them too large or too small because you 
will find that there are all sizes of petals and there¬ 
fore every one will be correct. 

Chrysanthemums—(Water Color Painting) 
Work this flower very broadly and artistically. 
Use your brush freely and see that every touch 
counts for one petal. Begin to paint the flower from 
the top and allow the color to run down gradually 
with your brush leaving a good many of the high 
lights plain WHITE. These high lights can be tinted 
over later on and as regarding the details, you may 
apply these when the first application is dried. 

For red chrysanthemums use FRENCH VERMIL¬ 
ION mixed with a trifle of CRIMSON LAKE or 
BURNT SIENNA. On yellow Chrysanthemums use 
RAW SIENNA for the shadows, and either LIGHT 
or DARK CADMIUM for the lighter shades. For 
white Chrysanthemums use very thin and watery 
PAYNES GREY. Of course, there are very many 
colors used in Chrysanthemums and you must always 
try to use your judgment in adding or taking so 
that you make a nice effect in your picture. 

Chrysanthemums—(Oil Painting) 

In oil painting you can paint chrysanthemums by 
applying your color one touch over another giving 
the shape to your touches exactly like the petal of 
the flower. Your flower is painted very much like 
a small cabbage, so to say, and keeping the color 


57 


darker than the original rather than lighter. You 
will add all the high lights a little later and you will 
find the painting of this flower to be not very difficult. 

For red chrysanthemums use VERMILION shaded 
with a trifle of IVORY BLACK, for yellow chrysan¬ 
themums use LIGHT CHROME YELLOW and OR¬ 
ANGE YELLOW shaded with RAW SIENNA. For 
white chrysanthemums use WHITE and a small 
trifle of IVORY BLACK. The center of these 
flowers are generally in a light delicate YELLOW 
or EMERALD GREEN. 

Sweet Peas—(China Painting) 

This flower is found in a variety of delicate colors, 
but the most popular and pretty shades of them are 
the pink, lavender and white. The pink Sweet Peas 
are painted with SWEET PEA PINK as this color 
implies. If you do not have the SWEET PEA PINK 
you may use ROSE COLOR or even PEACH BLOS¬ 
SOM. For lavender Sweet Peas you can use VIOLET 
COLOR very thin and delicate. For white Sweet 
Peas you can use the COPENHAGEN GREY. Al¬ 
ways apply the shadows in the first firing and re¬ 
touch with a small brush. 

In the second firing you wash over either the PINK 
or VIOLET COLOR if these are the colors of the 
flowers. Be certain and do not use too heavy colors 
because these are very delicate and airy flowers and 
therefore must be painted lightly. 

Sweet Peas—(Water Color Painting) 

In water colors you may use the CARMINE LAKE 
very watery for the pink flowers and for the lav¬ 
ender flowers you can use a very light tone of 
COBALT BLUE mixed with a trifle of CARMINE 
LAKE. For white flowers of this kind you can use 
the PAYNES GREY very watery. Apply the details 


58 


with a small brush and use this brush always full of 

Sweet Peas—(Oil Painting) 

For the painting of these pink flowers in oil paint¬ 
ing you may use CARMINE LAKE mixed with a 
trifle of VERMILION and plain WHITE. For lav¬ 
ender flowers you may add to these three colors a 
small quantity of COBALT BLUE or NEW BLUE. 
For white flowers you may use plain WHITE and a 
trifle of COBALT BLUE with EMERALD GREEN. 

Always apply dark shadows first and paint the 
high lights while the color is still fresh. 

Daffodils and Yellow Daisies—(China Painting) 

Yellow flowers should be painted in china with 
BROWN GREEN applying the shadows alone in the 
first firing. We mention two kinds of flowers such 
as daffodils and yellow daisies, but every yellow 
flower should be painted with the same method and 
colors as used for these two. In painting daisies you 
should use a small pointed brush and apply the small 
lines that you will find in the petals. Leave plenty 
of high lights and on the second firing you can wash 
over the whole flower with a thin coating of LEMON 
YELLOW. 

The center of the daffodil is in ORANGE YEL¬ 
LOW and also the center of the daisies, though this 
latter sometimes has a trifle of YELLOW GREEN 
mixed with it. 

Daffodils have generally six petals and these 
petals should be painted properly, and on the con¬ 
trary daisies have no certain accurate number of 

petals. Daffodils and Yellow Daisies— 

(Water Color Painting) 

In water color painting you may use RAW SI¬ 
ENNA for the shadows of the daffodils and LIGHT 


59 


CADMIUM for the lighter tones. The center of the 
daffodils are in dark Cadmium YELLOW and the 
same color can be used also in yellow daisies, only in 
this case the center is more GREEN and for this you 
may add a trifle of EMERALD GREEN to the YEL¬ 
LOW. Paint these flowers freely and apply little 
touches with a small brush. 

Daffodils and Yellow Daisies—(Oil Painting) 

In oil painting you may use Light CHROME YEL¬ 
LOW for the light shades and CADMIUM YELLOW 
mixed with RAW SIENNA and WHITE for the shad¬ 
ows. These colors are useful for both daffodils and 
yellow daisies. 

In the center you may use DARK CADMIUM 
YELLOW for the daffodils and the same color made 
a little more GREEN for the center of the daisies. 
Keep the high lights the last and apply your details 
with a small brush. 

White Daisies and Easter Lilies—(China Painting) 

White daisies are generally painted with a dark 
background as such a background will carry out the 
white effect of the flower. In fact, in every white 
flower a certain background of medium strength will 
be necessary and I would advise a background in 
GREENS or in dark GREYS. DEEP BLUE GREEN 
well padded will make also a good background for 
white flowers. I would advise you to draw the white 
daisies showing the size and shape of the petals and 
then fill in the background. Your flower will show 
nice and white. 

It is advisable to use a small lining brush for some 
details in the daisies and for the delicate shadows 
you may use COPENHAGEN GREY. The center is 
in EGG YELLOW shaded with a trifle of BROWN 
GREEN. Do not apply too much color in the shading 


60 


of the daisies because the more the color the less nat¬ 
ural they will look. 

The same color used for white daisies can be used 
on the Easter Lily and perhaps with all the white 
flowers. These lilies have a delicate touch of YEL¬ 
LOW in the center and you can apply this tint on the 
second firing when all the shadows are burned in. 
The few small seeds in the center are in EGG YEL¬ 
LOW or YELLOW BROWN. These lilies should also 
have a dark background and DEEP BLUE GREEN 
will be a very pretty combination. 

White Daisies and Easter Lilies—(Water Color 
Painting) 

As I mentioned in the china painting such a white 
flower as daisies and lilies should have a certain back¬ 
ground so as to carry out the white flowers. For the 
shading of the daisies and lilies you may use a very 
watery wash of PAYNES GREY mixed with a trifle 
of EMERALD GREEN. 

The center of the daisies are in INDIAN YEL¬ 
LOW and also the seeds of the Easter lilies. Deli¬ 
cate touches of LIGHT CHROME YELLOW in the 
center of the lilies will be very appropriate. Do not 
over work the white flowers and leave plenty of high 
lights lest they look black and heavy. 

White Daisies and Easter Lilies—(Oil Painting) 

The very best way to paint white flowers in oil 
painting is to have a general color in the canvas say 
of GREY or GREEN and apply the white daisies or 
lilies with plenty of FLAKE WHITE right over the 
background. See that every touch counts for one 
petal of the daisies or for every petal of the lilies 
as the handling of the brush is a very strong help 
in portraiting the shapes of the different flowers. 


61 


The center of the daisies is in DARK CADMIUM 
YELLOW shaded with RAW SIENNA and this will 
also be used for the seeds in the lilies. The best color 
for the shading of white flowers will be FLAKE 
WHITE and a very trifle of IVORY BLACK and 
BANDING BLUE. Any transparency can be made 
by using WHITE in a trifle of LIGHT YELLOW of 
any kind. 

Morning Glories—(China Painting) 

A beautiful purple color seen in the morning glor¬ 
ies when they are in full bloom can be made with 
VIOLET COLOR 2 and the shadows with the addi¬ 
tion of PURPLE BLACK. ROYAL PURPLE will 
make also a beautiful color and RUBY PURPLE 2 
mixed with BANDING BLUE will give you many 
different shades which can be changed accordingly, 
only by adding more or less BLUE. 

There are also pink morning glories and these can 
be painted with SWEET PEA PINK and shaded with 
touches of AMERICAN BEAUTY COLOR. The 
strong lines dividing the flower in five parts are 
nearly always in RUBY PURPLE 2. In the lav- 
endar shades you may use the same VIOLET COLOR 
only thinner and the white flowers of this kind can 
be painted with COPENHAGEN GREY. 

The five partitions are always made with either 
RED or PURPLE COLOR. Apply the shadow in 
the center of the flower and at one side only so as to 
make a cup like effect. 

Morning Glories—(Water Color Painting) 

In water color painting you may make a beautiful 
VIOLET COLOR by mixing COBALT BLUE and 
CARMINE LAKE and by adding more or less of the 
BLUE you will make a darker or lighter PURPLE. 
The five partitions of the flower are generally in 


62 


CARMINE LAKE and there is also a delicate tone 
in the center of the flower which can be made by 
using a small quantity of any light YELLOW that 
you have at hand. 

The lavendar flowers of this kind are painted with 
less CARMINE and more BLUE, and with a more 
watery color. For pink morning glories you can use 
this CARMINE LAKE very delicate and thin. For 
white flowers you may use PAYNES GREY and the 
five partitions will be in either CARMINE or VIO¬ 
LET COLOR. Be careful in making the right num¬ 
ber of partitions in the flower which should always 
be five. 

Morning Glories—(Oil Painting) 

In oil painting also you can make a very beautiful 
VIOLET COLOR by using COBALD BLUE mixed 
with CARMINE LAKE or CRIMSON LAKE. By 
adding to these two colors some WHITE the color 
will be still better and lighter. 

For pink morning glories you may use CARMINE 
LAKE and plenty of WHITE and for white morning 
glories you may use FLAKE WHITE with a small 
quantity of IVORY BLACK and COBALD BLUE. 
The delicate tones in the center can be made with 
any YELLOW at hand. The addition of PRUSSIAN 
BLUE to any of the given colors will make a very 
dark rich tone. 

Nasturtiums—(China Painting) (See page 25) 

There are a great number of different shades in 
the Nasturtiums, some of them being YELLOW, 
some being ORANGE, some being RED, some being 
PURPLE and some being nearly BLACK. Notice 
that these flowers have five petals and be certain to 
paint the proper number of them. There are in 
every petal a number of touches in a dark tone on 


63 


the centre of the petals, toward the attachment. 
These should be applied at first by using FINISHED 
BROWN or BLACK. Apply now the shadows of the 
flowers by using BROWN GREEN for the yellow 
flowers. VIOLET of IRON for the red flowers and 
DARK FINISHING BROWN for the other dark 
ones. 

The center of the flower is always in NEUTRAL 
YELLOW or BROWN GREEN mixed with EGG 
YELLOW. On the second firing you may cover the 
whole flower with ALBERT YELLOW for the yellow 
flowers, YELLOW RED NO. 2 for the red flowers 
and RUBY PURPLE NO. 2 mixed with a trifle of 
HAIR BLACK for the other dark flowers. Of course 
you may add a number of different shades if you 
think they are necessary. 

Nasturtiums—(Water Color Painting) 

In water color painting for the yellow nasturtiums 
you can use RAW SIENNA for the shading and 
LIGHT CADMIUM YELLOW for the high lights. 
For the red nasturtiums you may use BURNT SI¬ 
ENNA for the shadowy and VERMILION for the 
high lights. For the dark flowers you may use 
VAN DYKE’S BROWN for the shadows and CRIM¬ 
SON LAKE for the high lights. 

The dark spots at the center of the flowers are 
always in IVORY BLACK or VAN DYKE’S 
BROWN. 

Nasturtiums—(Oil Painting) 

In oil painting you may use RAW SIENNA for 
the shading and LIGHT CHROME YELLOW for the 
yellow nasturtiums. BURNT SIENNA for the red 
flowers perhaps adding to the latter color a trifle 
of VERMILION. For the darkest flowers you may 


64 



GRAPE SKETCH BY D. M. CAMPANA 
























































use IVORY BLACK for the shadows and BURNT 
SIENNA for the high lights. 

The dark spots at the center of the petal are in 
IVORY BLACK or VAN DYKE’S BROWN. To all 
these colors of course you can add a number of other 
shades according to your effect or to the composi¬ 
tion of the picture. 

Lilacs—(China Painting) 

This flower is in a lavender shade and varies con¬ 
siderably. Sometimes you find it very delicate and 
faded and other times more purplish and strong. 
The weather and also the age of the flower influ¬ 
ences its color as when it is several days old it will 
become a more faded and less brilliant tone. 

Lilac comprises a large number of small flowers 
one next to the other and rather crowded in. I 
advise you to make these little flowers with one 
petal for every touch and leaving a small round 
space in the center. 

If you will re-read the chapter on Forget-Me-Nots 
and follow the same method for the painting of lilacs, 
you will find this to give very satisfactory results. 
Every one of the little flowers have four petals and 
this fact must be well considered, for if you make 
more petals than is natural with the flowers, the 
decoration will be faulty. 

On the second firing you can apply the shadows 
of the flowers and to make the effect more proper 
you may shade only two of the four petals and the 
flower will acquire a cup like form which is the 
proper style of the lilacs. It is proper to leave a 
small space here and there between these little flow¬ 
ers as these small spaces will lighten the effect. 

You may use VIOLET COLOR NO. 2 for the 
painting of lilacs on china and if this color might 


65 


prove a little too blue, you may add a small quan¬ 
tity of ROSE COLOR or SWEET PEA PINK or 
if you do not have them, use PEACH BLOSSOM 
or any such color you may have at hand. In fact, 
by using any of these pinks with the addition of 
a light blue such as TURQUOISE BLUE or SEVRES 
BLUE, you can make a very appropriate lilac shade 
using more or less blue according to the proportion 
of pink used to your blue. 

Lilacs—(Water Color Painting) 

In water color painting you can make a large 
variety of lavender tints for lilacs by using COBALT 
BLUE with CARMINE LAKE and the more the 
CARMINE the warmer will be the tone. If you do 
not have COBALD BLUE you may use NEW BLUE 
or even ULTRAMARINE BLUE. If you do not have 
CARMINE LAKE you can use CRIMSON LAKE, 
in fact, you could use any of the lakes and always 
produce a good color for the flowers. 

The best method of painting this subject in water 
colors is to apply one touch for every petal and begin 
from the upper part and come down quickly with 
a full brush until you have the group of lilacs com¬ 
plete. The small touch in the center can be applied 
on the end when the general color is complete. You 
should be careful in leaving out a considerable num¬ 
ber of small high lights which will suggest other 
petals and which will make the effect easy and del¬ 
icate. Lilacs—(Oil Painting) 

In oil painting like water color painting you can 
make a very pretty shade for lilac flowers by using 
COBALD BLUE or NEW BLUE with CARMINE 
LAKE or CRIMSON LAKE or in fact with any lake 
you have at hand. Apply the petals with a touch 


66 


for every one and use a rather dark color reserving 
the light touches for the very end of the painting. 
Of course, all these light touches are made by mixing 
WHITE with the other two colors mentioned before 
and the more WHITE the lighter will be the tone. 

These flowers give a good opportunity for a little 
display of stroke effect in oil painting as there are 
so many small petals and these petals are so crowded 
one into the other that you can Work freely and use 
your brush in almost any manner. 

Wistaria—(China Painting) 

The general effect of wistaria is in a lavender del¬ 
icate color very similar to the lilac. In fact, the 
color that you use for the lilac could be very prop¬ 
erly used for the wistaria and you will notice that 
this flower has one very large petal at the upper part 
and another one curled up, hanging from the upper 
petal. This second petal is generally more colored 
than the other one is, it is a trifle more purple than 
the other petal. 

I would suggest that you use VIOLET COLOR NO. 
2 mixed with about one third of ROSE COLOR or 
any other pink if the ROSE COLOR is not at hand 
and if you have no VIOLET COLOR you can mix 
TURQUOISE BLUE or BANDING BLUE with 
about three fourths of ROSE COLOR. These mix¬ 
tures will give you a pretty combination. In the cen¬ 
ter of the upper petal there is a very delicate touch 
of a color which you can make by using a very 
small quantity of LEMON YELLOW. 

Wistaria—(Water Color Painting) 

If you read the instructions on lilac painting and 
you follow these suggestions for the mixing of colors 


67 


you will find these shades to be very appropriate 
also for the wistaria. Apply the color with a large 
brush and have this color very watery, allowing it 
to run freely because, with the water colors, when 
they run down from your brush freely they will make 
a far better touch. If you go over again and again, 
and tinker with the tint, no good result will be ob¬ 
tained. 

The color I would suggest for this flower is a mix¬ 
ture of COBALD BLUE and CARMINE LAKE or 
any other lake you have at hand. The more of the 
blue the darker will be the shade. You may use 
your own judgment so that you make the effect 
desired. 

Wistaria—(Oil Painting) 

For oil painting you can also use COBALD BLUE 
mixed with a good deal of WHITE and a triflle of 
CARMINE LAKE or any other lake that you may 
have at hand. If you have a VIOLET COLOR al¬ 
ready made up in tubes such as MAUVE you may 
use this with the addition of WHITE otherwise you 
can mix these colors according to the dark or light 
tint that you wish to make. Apply the dark tones 
covering the whole flower and you apply afterwards 
the light parts until the flower is completed. 

Grape Painting—(China Painting) 

Grapes are of varied colors as for instance, Purple 
grapes, White grapes, Green grapes and Red grapes. 
Of course there is no exact color to be used for all 
grapes, but a line of different effects and different 
colors to be used for the painting of these fruits will 
be a very good help to the students. Before all, have 
a good drawing of your grapes and see that the lines 


68 


should be simple and round. Of course, there are 
grapes that are oval but you will never find grapes 
with angular or square shapes and if you paint them 
with a broken edge they will always look bad and 
poor. 

I would advise students to have a good drawing 
of the grapes before they start to apply the color 
and to see that the upper grapes be larger in size 
than the lower grapes toward the end of the bunch. 
This fruit is transparent the liquid inside allowing 
the light to shine through and if you look at it care¬ 
fully you will always see a ring of reflected light 
at the lower edge of the individual grapes. It is 
necessary that you should leave this reflection be¬ 
cause it is one of the important points that will show 
the character of the grapes. 

A good color to use for dark grapes in china paint¬ 
ing will be the PURPLE BLACK mixed with either 
a trifle of BANDING BLUE or better yet with VIO¬ 
LET COLOR. Apply the shadow on one side of every 
individual grape, this shadow to be in the form of a 
half moon, and leave the other part of the grape plain 
WHITE. Remember that there is a little transpar¬ 
ency below the shadows which should now be left 
WHITE. 

On the second firing you may cover the whole 
grape with VIOLET COLOR shaded down with a 
trifle of PURPLE BLACK. Have this coating rather 
delicate and apply your transparencies by using 
RUBY PURPLE rather thin. Cut out the clean 
high lights in the center of all grapes and apply 
your sharp details with a small brush using PURPLE 
BLACK pure. On light grapes which is generally 
called Green grapes I would advise you to put your 
shadows over every individual grape with a thin 


69 


touch of OLIVE GREEN leaving the light part plain 
WHITE. 

On the second firing you can wash all over the 
grapes a very delicate shade of MOSS GREEN cov¬ 
ering all of the grapes, the transparencies to be 
made in EGG YELLOW. Cut out the high lights 
in the center of every grape. Apply your details 
with a trifle of SHADING GREEN not very dark. 

For red grapes I would advise you to use VIOLET 
of IRON applying the shadows with this color but 
not heavy. Leave the lights clean as these can be 
applied on the second firing with an all over tinting 
of a very thin RUBY PURPLE NO. 2 mixed with 
a trifle of DARK POMPADOUR RED. The transpar¬ 
encies can be painted in YELLOW RED. Cut out 
the high lights and retouch small details with VIO¬ 
LET of IRON. 

The stems are generally painted in MOSS GREEN. 

Grape Painting—(Water Color Painting) 

In water color painting it is necessary to use a 
full brush and start to paint the top grapes coming 
down gradually to the lower one. Always allow for 
the lights and high lights because from these de¬ 
pends the lightness and brilliancy of the grapes. 

The shadows of the light grapes should be done 
with RAW SIENNA shaded down with a little EM¬ 
ERALD GREEN. The reflections are in LIGHT 
CADMIUM YELLOW and the general light tint of 
grapes are in a very thin wash of EMERALD 
GREEN tinted down with a trifle of COBALD BLUE. 
This delicate shade is very cool and pretty and you 
will always find it in light grapes. 

No doubt you have left out the high lights in the 
center of the grapes as these are left plain WHITE. 


70 


For dark grapes use COBALD BLUE mixed with 
a trifle of CARMINE for the light parts and for the 
shadows use CRIMSON LAKE mixed with COBALD 
BLUE rather strong to make a good dark shadow. 
For the transparencies use CARMINE LAKE. 

For Red grapes use CRIMSON LAKE mixed with 
a little PAYNES GREY for the shadows. Use this 
color not very dark. For the light shades use a 
trifle of VERMILLION toned down with a small 
quantity of COBALD BLUE. The transparencies 
are in VERMILLION. Always give the dark de¬ 
tails on the end and treat the grapes very simply 
and quickly. 

The stems of the grapes are in INDIAN YELLOW 
mixed with a trifle of any GREEN that you may 
have at hand. 

Grape Painting—(Oil Painting) 

In oil painting purple grapes are painted with 
IVORY BLACK and a touch of CRIMSON LAKE 
for the dark shadows. The light parts are in CO¬ 
BALD BLUE, WHITE and a trifle of BLACK mak¬ 
ing it a delicate gray. The transparencies are in 
CRIMSON LAKE mixed with WHITE. 

Red grapes are painted with CRIMSON LAKE, 
a very small trifle of IVORY BLACK, and WHITE 
for the shadows. The light parts are painted in 
CARMINE LAKE with WHITE, and the transpar¬ 
encies with VERMILLION RED. The high lights 
are always applied on the end with a touch of 
WHITE. Of course, these are colors dealing in gen¬ 
eral but you may use your own judgment in adding 
or altering these shades according to your needs. 

The stems of the grapes are in YELLOW mixed 
with a trifle of RAW SIENNA. 


71 


Blackberries—(China Painting) (See page 15) 

Blackberries are painted with a dark color such as 
BEST BLACK but still better would be the PUR¬ 
PLE BLACK mixed with BANDING BLUE in equal 
proportions, perhaps adding a trifle of any purple to 
warm up the tint. Cut out few high lights In the 
center of the berry and refire. Of course, if you see 
that you need a little more details you can supply 
this before you fire it the second time. Do not 
apply the BLACK too heavy or lumpy because lumpy 
colors are liable to chip off. 

Blackberries—(Water Color Painting) 

Paint blackberries with PAYNES GREY and 
apply the dark shadows in a ring like shape. Start 
from the center and add more and more rings but 
see that there is much shadows on one side and very 
little on the other. When these shadows are com¬ 
plete and the berries are of the proper shape you 
may wash over a quick touch of COBALD BLUE 
mixed with a trifle of CRIMSON LAKE and leave 
out a number of high lights here and there to make 
the fruits very light and crisp. Some dark touches 
can be made with IVORY BLACK. 

Blackberries—(Oil Painting) 

For oil painting you can paint blackberries suc¬ 
cessfully by using IVORY BLACK perhaps mixed 
with a trifle of COBALT BLUE for the shadows 
and the same color with the addition of some WHITE 
for the light parts. In the end you may apply some 
touches of WHITE for high lights. 

If there is any reddish shade to be applied, as for 


72 


instance in the berries not yet ripe you may use 
more of the CRIMSON LAKE and WHITE. 

Raspberries—(China Painting) 

In china painting you may paint raspberries in 
the very same method as you paint blackberries, and 
I would advise you to read the chapter on black¬ 
berries. The colors of course must be changed and 
you may use DARK POMPADOUR for the shadows 
and if this color is not at hand you may use BLOOD 
RED. Apply the same color, only much thinner for 
the light parts and have high lights nice and clear. 

Raspberries—(Oil Painting) 

The CARMINE LAKE or CRIMSON LAKE mixed 
with FLAKE WHITE will give the proper color for 
red raspberries, Use more of the PURPLE for the 
dark parts and more of the WHITE for the light 
parts. The high lights are in plain, clean WHITE. 

Strawberries—(China Painting) 
Strawberries are painted on china with DARK 
POMPADOUR RED for the shadows and for the 
light parts you may use the same color only very 
much thinner. The RED BLOOD NO. 2 is also a 
good color for this fruit. 

Notice that there are many small high lights on 
this berry which in the beginning must be left white 
and which will be covered on the second firing. 
Toward the point, the strawberries are a trifle more 
YELLOW, this shade can be produced with a very 
small quantity of NEUTRAL YELLOW mixed with 
MOSS GREEN. 

Strawberries—(Water Color Painting) 

For this fruit use CRIMSON LAKE mixed with 
VERMILION and use it dark on the dark shad- 


73 


ows and much thinner on the light parts. Be cer¬ 
tain to leave out some of the high lights and if 
there is a light color at the point of the berries 
you may use a touch of INDIAN YELLOW mixed 
with any light GREEN at hand. 

Strawberries—(Oil Painting) 

CRIMSON LAKE and WHITE with the addition 
of a trifle of VERMILION will be a good color for 
strawberries in oil painting. Of course some of the 
berries may be a trifle more or less ripe and the 
students should change the proportion of the colors 
so as to make the proper effect. 

Currants—(China Painting) 

This little fruit is painted very much like grapes 
only in a smaller size and by using the YELLOW 
RED NO. 2. Use this color on one side in a round 
crescent like touch and the lighter shade on the light 
part can be applied with the same color only much 
thinner. 

On the second firing if you need a little darker 
details you may apply this with DARK POMPA¬ 
DOUR RED. The small point on the lower part of 
the currant can be made with SHADING GREEN 
or any dark color. 

Currants—(Water Color Painting) 

In water color painting you may use FRENCH 
VERMILION for the shading of the currants and 
in certain parts you may add to this color a trifle 
of CARMINE LAKE. Leave some high lights 
plain white and the small point at the lower parts 
can be made in PAYNES GREY. 

Currants—(Oil Painting) 

In oil painting also you may use the VERMIL¬ 
ION and if necessary a trifle of BURNT SIENNA. 


T 4 


If necessary add a trifle of White to your lighter 
parts and the small point at the bottom of the fruit 
is in BLACK or any dark color. 

Apples and Pears—(China Painting) 

Apples and pears have many different colors but 
the kind more used for decorative work in painting, 
are generally the red apples and also a kind of 
partly red pear. For the RED parts of apples and 
pears, you may use YELLOW RED No. 2, but 
for the dark red you can also use VIOLET of IRON, 
also light POMPADOUR RED. You may shade 
these red tones according to your need. The yellow 
parts of the apples and pears are painted with a 
trifle of ALBERT YELLOW and the GREEN parts 
with BROWN GREEN. You may leave sharp high 
lights on the light part of the fruit and on the cen¬ 
ter of the apple, right opposite, you can paint the 
small touches of SHADING GREEN. Of course for 
apples that are more green, you may use APPLE 
GREEN tone, while on the contrary you can use 
more RED for the red apples and pears. 

Complete catalog of all kinds of artist's materials 
will be sent free of charge by writing this author. 



75 







Apples and Pears—(Water Color Painting) 

The red tones on the red parts of the apples and 
pears are made with VERMILLION, while BURNT 
SIENNA is used for the very dark parts. Some¬ 
times a trifle of CARMINE LAKE can be added to 
the VERMILION. The yellowish tones can be made 
with INDIAN YELLOW pure. Leave sharp high 
lights white, and for dark touches use any dark 
GREEN that you may have at hand. 

Apples and Pears—(Oil Painting) 

In oil painting you may paint apples and pears 
by using a good deal of WHITE mixed with DARK 
CHROME YELLOW for the yellow tones. Use VER¬ 
MILION and CARMINE LAKE for the red parts 
and DARK CHROME GREEN mixed with a light 
YELLOW for the greenish parts. In this case I 
would advise yoo to apply the light parts first and 
add the middle and dark tones in the end. 

Plums—(China Painting) 

A good color for plums in china painting would 
be the PURPLE BLACK for the dark tones while 


76 


for the lighter parts DARK VIOLET COLOR NO. 2 
mixed with a trifle of PURPLE BLACK would be 
good. Leave a certain number of high lights on one 
side of the fruit and apply the colors smoothly to 
make it look clean and pretty. Notice that in plums 
there is a certain deep line in the center of the fruit 
and you must leave this deepness very clear and 
sharp. 

Plums—(Water Color Painting) 

In water color painting plums can be painted by 
mixing PAYNES GREY with a trifle of COBALT 
BLUE. Use these colors darker on one side of the 
fruit and very watery on the light parts and leave 
a certain high light at one side. 

Plums—(Oil Painting) 

In oil painting you may use IVORY BLACK and 
COBALT BLUE for the dark parts of the plums and 
for the light parts you may add to these colors a 
certain amount of WHITE and perhaps a very small 
quantity of CARMINE. 

Geranium—(China Painting) 

This flower is found in a variety of different 
shades and the most popular color is the red and 
purple, these colors being seen in almost every gar¬ 
den and also in a good many houses. There is alsa 
a white geranium and a pink geranium, but I will 
give here the colors for the most popular of all and 
would suggest for the red flowers, the use of YEL¬ 
LOW RED and if this color is not at hand you may 
use CARNATION. For the pink geranium I would 
advise you to use AMERICAN BEAUTY COLOR 
which is a strong pink and for the dark purple ger¬ 
anium I would advise you to use RUBY PURPLE 
NO. 2. 


77 


These colors can be used thin for the light parts 
and thick for the dark shadows, though on the red 
geranium a good dark shadow can be done with 
VIOLET of IRON. You will notice how these flow¬ 
ers come in clusters of five, six or more and they 
have an attachment on the back joining together 
in one single place at the stem. 

Geranium—(Water Color Painting) 

In water color painting for the red geranium you 
may use the FRENCH VERMILION shaded with 
a trifle of CRIMSON LAKE. For the pink geranium 
you can use GERANIUM LAKE which is a very 
bright color, and you may shade this color with a 
trifle of CARMINE LAKE. For the very dark pur¬ 
ple flowers you may use CRIMSON LAKE shaded 
with a trifle of IVORY BLACK. Have plenty of 
color in your brush so that your liquid color will 
run down and make a smooth, even touch. 

Notice that in the center of the flower there is 
a small deep cavity which of course you must show 
and put in at the end of the painting. 

Geranium—(Oil Painting) 

In oil painting you can use the VERMILION 
RED for the red geranium shaded with a trifle of 
CRIMSON LAKE. For the pink geranium you may 
use the VERMILLION mixed with FLAKE WHITE 
more or less of the WHITE according to the deep¬ 
ness of the shade desired. For the dark purple 
geraniums you can use CRIMSON LAKE perhaps 
mixed with a trifle of IVORY BLACK. 

In painting geraniums be certain and follow a cer¬ 
tain rule regarding the quantity of petals for every 
flower as this is a very important matter in all 
paintings that you will undertake. 


78 


Oranges and Lemons—(China Painting) 

Please notice that both oranges and lemons have 
an uneven surface and in painting them you must 
endeavor to show this peculiar roughness of their 
skin. In painting on china, apply the shadows of 
the oranges with FLESH SHADOW or if this color 
is not at hand with BROWN GREEN mixed with 
a trifle of YELLOW BROWN. 

The shadows of lemons is in BROWN GREEN 
mixed with a trifle of LEMON YELLOW. On the 
second firing you cover the whole orange with OR¬ 
ANGE YELLOW and the lemon with LEMON YEL¬ 
LOW. If this latter is a trifle GREEN, you may 
add to the YELLOW a very small quantity of AP¬ 
PLE GREEN. 

Oranges and Lemons—(Water Color Painting) 

In water color painting you may use DARK CAD¬ 
MIUM YELLOW for the general shade of the oren- 
ges and the shadows can be applied with the addi¬ 
tion of RAW SIENNA. For the general tint of the 
lemons, use light CADMIUM YELLOW and for the 
shadows use RAW SIENNA mixed with a trifle of 
EMERALD GREEN. 

Oranges and Lemons—(Oil Paintng) 

In oil painting oranges are painted with ORANGE 
YELLOW for the general shade and for the darker 
parts you may add RAW SIENNA. For the gen¬ 
eral tint of the lemons you can use LIGHT CHROME 
YELLOW or perhaps any light YELLOW and for 
the shadows you may use RAW SIENNA mixed with 
a very trifle of EMERALD GREEN. Of course, in 
oil painting there is always the addition of WHITE 
which you must use according to your need. 


79 


Nuts—(China Painting) 

The color of nuts is generally a light delicate 
BROWN tint and walnuts, hazelnuts, hickory nuts, 
almonds, acorns and any hard shelled nuts can be 
painted for the shadow in AUBURN BROWN or 
HAIR BROWN and the light parts with a general 
tint of a very thin MEISSEN BROWN. Chestnuts, 
for instance, are much darker in color and for these 
you can use CHESTNUT BROWN dark or light ac¬ 
cording to your need. 

Peanuts are a trifle more GREY and these can 
be painted with the addition of COPENHAGEN 
GREY to the MEISSEN BROWN. Always apply the 
dark shadows at first and the light tones on the sec¬ 
ond firing. 

Nuts—(Water Color Painting) 

In water color painting you may use the VAN 
DYKE BROWN for the dark shadows in the differ¬ 
ent nuts. I Would suggest, if this color is too dark, 
that you may add RAW SIENNA to the former color. 
For the light tints you should use RAW SIENNA 
very thin mixed with a trifle of BURNT SIENNA. 
Of course, some of the nuts are darker in color than 
others and you should study this matter carefully 
and add more or less of these colors until you obtain 
the proper shade. 

Nuts—(Oil Painting) 

In oil painting you may use VAN DYKE BROWN 
or BONE BROWN mixed with a trifle of ORANGE 
YELLOW. For the light parts add a certain quan¬ 
tity of WHITE and less of the BROWN, also more of 
the ORANGE. If you do not have the ORANGE use 
any strong bright YELLOW that you may have at 
hand. In any case be certain to study the drawing 
of your fruit so that people may understand its char- 


80 


acter at once and know which fruit you wanted to 
reproduce. 

Cherries—(China Painting) 

There are different kinds of cherries, some being 
lighter and others rather dark and for the light red 
cherries I would advise you to use YELLOW RED 
or if not at hand you may use CARNATION RED. 
On the dark parts of these red cherries you can use 
a trifle of D ARK POMPADOUR RED. 

Notice that cherries have a glossy surface and 
this gives the fruit quite a strong high light which 
you should endeavor to keep in plain WHITE china. 

The dark cherries are painted with PURPLE 
BLACK mixed with a trifle of BLOOD RED or 
BLOOD RED No. 2. Some of the cherries have a 
purplish hue and for these you can mix a small quan¬ 
tity of RUBY or PURPLE with the PURPLE 
BLACK itself. 

For the very light yellow cherries you could use 
BROWN GREEN mixed with a touch of YELLOW 
BROWN for the shadows and for the light parts 
IMPERIAL IVORY mixed with a trifle of YELLOW 
BROWN. As I said in the beginning of this chapter 
all cherries have strong high lights on one side which 
you should leave out in plain white china. 

Cherries—(Water Color Painting) 

In water color painting you can use VERMILION 
RED for the red cherries mixed with CARMINE 
LAKE for the dark shadows, while for the light parts 
you can keep the VERMILION RED pure. 

The light yellow cherries will be painted with 
RAW SIENNA and LIGHT CADMIUM mixed for 
the dark parts and for the light parts the LIGHT 
CADMIUM YELLOW very thin and clear. Of course, 


81 


if you have not this special YELLOW you can use 
almost any light YELLOW at hand. 

For dark cherries, you can use PAYNES GREY 
mixed with a trifle of CRIMSON LAKE or CAR¬ 
MINE LAKE. Use more of the PAYNES GREY on 
the dark parts. Do not forget to leave the high 
lights plain white, for if you cover your high lights, 
you will not be able to make successful high lights 
afterwards. 

Cherries—(Oil Painting) 

In oil painting you can use VERMILION RED for 
the red cherries with the addition of a trifle of 
BURNT SIENNA on the dark parts. The other dark 
cherries are painted with IVORY BLACK mixed 
with a trifle of either CRIMSON LAKE or CAR¬ 
MINE LAKE and the very light yellow cherries are 
painted with any LIGHT YELLOW that you may 
have mixed with a trifle of WHITE on the light parts 
and the same YELLOW mixed with RAW SIENNA 
for the shadows. 

In oil painting you can apply the high lights with 
WHITE at the end of the lesson. 

Peaches—(China Painting) 

In china painting peaches are painted with a 
general light, delicate tint of IMPERIAL IVORY 
for the light parts and on the dark parts of this 
fruit, you may use BROWN GREEN mixed with a 
trifle of YELLOW BROWN. In the center of the 
peaches you must have that gray velvety effect by 
using a small quantity of any VIOLET COLOR that 
you may have at hand. Of course, this shade must 
be a bluish tone and you should apply this on the 
first firing. 

On the second firing you can cover it with a deli¬ 
cate tint of the IMPERIAL IVORY as I have sug- 


82 


gested before so as to make the tints more subdue 
and pretty. If some of the peaches are a little more 
GREEN or a little more RED you can add a little of 
the APPLE GREEN or of the PEACH BLOSSOM 
COLOR according to the effect of the fruit and of 
the full decoration. I have mentioned several times 
that colors of fruits and flowers must very frequently 
be altered according to the general decoration of the 
china or picture which you are painting, as for in¬ 
stance, if your background is very dark or very 
bright you must paint your subject according to that 
background, while if the background is light and del¬ 
icate the fruit and flowers should also be painted to 
harmonize with that special background. 

Students, therefore, should use their own judg¬ 
ment in all cases and though I give here correct ef¬ 
fects for the different subjects, they should also 
study and attempt to produce something of their 
own, as this is the best method for learning. 

Peaches—(Water Color Painting) 

In water color painting you may use, for the light 
tones of the peaches, a thin shading of DARK CAD¬ 
MIUM YELLOW and for the pretty GREY tones in 
the center you may add a trifle of PAYNES GREY 
mixed with a small trifle of CARMINE. The dark 
shadows can be made with RAW SIENNA. You may 
alter these three shades if you wish to make the fruit 
less or more colored according to your picture. 

There is no high lights on peaches as this fruit is 
velvety at the surface and rather dull. Perhaps a 
little touch of CARMINE very light here and there 
will help the effect. 


83 


Peaches—(Oil Painting) 

In oil painting you may apply at first the dark 
shadows in RAW SIENNA and you may come to¬ 
ward the center with a mixture of WHITE, COBALT 
BLUE and a very little CARMINE so as to make a 
neutral shade looking a little violet in tone. Toward 
the light parts you could use WHITE with RAW 
SIENNA and the addition of ORANGE YELLOW or 
DARK CADMIUM YELLOW. 

Change the colors a trifle according to your picture 
and background. 

Gooseberry—(China Painting) 

In china painting the green gooseberries are 
painted with a very delicate thin tinting of OLIVE 
GREEN. You will notice that this fruit has some 
long lines crossing over the fruit and these small 
lines can be also made with OLIVE GREEN using 
this color with a very small lining brush. You may 
use the same color for the shadows and for the lighter 
parts. 

If some of the berries have a pinkish tone, you can 
use a very thin touch of DARK POMPADOUR. The 
thorny little parts which you notice all over the sur¬ 
face of the fruit is made with a very fine pointed 
brush using OLIVE GREEN. 

Gooseberry—(Water Color Painting) 

In water color painting you may use a trifle of 
HOOKER’S GREEN LIGHT very watery for the 
light parts and a trifle darker for the shadows. 
Apply the small lines crossing the fruit when the 
general color is dried and with a small liner. If some 
of the fruit has a rosy color you may attain this color 
by using a delicate touch of CARMINE LAKE. 


84 


Gooseberry—(Oil Painting) 

In oil painting you may use also a light GREEN 
of any kind which you may have at hand and add to 
it a certain quantity of WHITE to make the desired 
tone. At the dark part of the fruit use more of the 
GREEN and on the other side more of the WHITE. 
The small lines crossing over the fruit are made with 
the same color only by using a small lining brush. 

Mountain Ash—(China Painting) 

In china painting you may use either CARNA¬ 
TION RED or YELLOW RED No. 2 for the painting 
of mountain ash. In the dark shadows you may add 
a trifle of DEEP RED BROWN or VIOLET of IRON. 
If that color is a trifle too light for your decoration 
you may use the LIGHT POMPADOUR for the gen¬ 
eral color and DEEP RED BROWN for the shadows. 

This fruit has a small high light, which you should 
keep plain white. Be careful in keeping the round 
shape of the fruit, as, if you make some oval and 
some round, they will not appear natural. 

Mountain Ash—(Water Color Painting) 

In water color painting you may use the FRENCH 
VERMILION mixed with a trifle of BURNT SI¬ 
ENNA for the general tint of this fruit. For the 
dark shadows you may add more BURNT SIENNA 
and leave the high lights plain WHITE. 

Mountain Ash—(Oil Painting) 

In oil painting you may use also the VERMILION 
for the general shade of the fruit, perhaps mixed 
with a small quantity of CARMINE LAKE. For the 
shadows you may mix with this color VAN DYKE 
BROWN and for the high lights you may use plain 
WHITE. 


85 


Blueberries—(China Painting) 

Blueberries in china painting are painted with 
PURPLE BLACK mixed with a trifle of BANDING 
BLUE. Leave the little high lights in the center and 
use more of the BLACK toward the shadows. You 
must draw the shape correctly so that they all will 
look alike. 

Blueberries—(Water Color Painting) 

In water color painting you use the PAYNES 
GREY and if necessary a trifle of COBALT BLUE. 
Be certain to leave out the high lights. 

Blueberries—(Oil Painting) 

In oil painting you use IVORY BLACK mixed with 
COBALT BLUE and perhaps a trifle of WHITE. 
High lights are applied on the end with a light touch 
of WHITE. 

Pine-Cones—(China Painting) 

In china painting you use the AUBURN BROWN 
or HAIR BROWN for the dark shadows of the pine- 
cones. Apply the shadows in half round sharp 
touches very much like a fish scale and toward the 
light part of the cone have these touches a little 
smaller. 

In the second firing you wash all over the cone 
a thin touch of MEISSEN BROWN. You may 
strengthen the shadows with FINISHING BROWN 
and the cones will look pretty and natural. 

Pine-Cones—(Water Color Painting) 

In water color painting you may use BURNT SI¬ 
ENNA for the dark shadows of the pine-cones. The 
light parts should be painted with DARK CADMIUM 
mixed with a trifle of the BURNT SIENNA. For the 
dark touches use VAN DYKE BROWN. 


86 


Pine-Cones—(Oil Painting) 

In oil painting you may use VAN DYKE BROWN 
for the dark shadows and BURNT SIENNA mixed 
with WHITE and ORANGE YELLOW for the light 
parts. Use more or less of the VAN DYKE BROWN 
as you need. 

Leaves 

Every fruit or flower has, of course, a different 
style of leaf and also a different color. For instance, 
roses have leaves with a dented edge very much like 
a saw and when you paint these leaves or when you 
paint roses you should paint the proper shape of the 
leaf, otherwise the flower and the leaf will not appear 
related. 

The poppies, for instance, have a leaf which is 
rather raggy and with a broken edge. The narcissus 
has a long, straight leaf. The violet has a round, or 
nearly round, shape of leaf and so has the nastur¬ 
tium. Now if you put a nasturtium leaf to a rose, or 
a violet leaf to a narcissus, you undoubtedly realize 
how absurd the effect would be. When you copy 
flowers or fruits it is of the most importance that 
you should study the character of the leaf, especially 
regarding its form. 

The colors of the leaves may vary considerably on 
certain seasons of the year, for instance, leaves may 
be a trifle more green in the spring than at some 
other season or perhaps some of the leaves being 
withered may become more YELLOW or perhaps a 
little RED. These colors, even if not very correct, 
may be overlooked, but not so with the proper form 
of the leaf. 

You will also notice that the leaves of roses grow 
in clusters of three, five, seven and perhaps more, 
and how they attach themselves symmetrically to the 


87 


stem. The violet leaves, for instance, start from the 
roots of the plant. Leaves of such flowers as nar¬ 
cissus, tulip, etc., start from almost any part of the 
branch, and apples, pears, peaches, cherries, etc., 
have also no rules in this respect. 

All these simple hints should be well understood 
by students and in painting the different flowers and 
fruits should follow the rules accordingly. 

I will give you a general idea of the different 
GREENS used in painting leaves, these different 
shades being used according to your judgment and 
also according to the general effect of the decoration. 
As I stated in the beginning of this chapter the 
colors of the leaves are dark GREEN in the young 
life of a flower or fruit and becomes more and more 
YELLOW or RED with the passing of time. You, 
therefore, should not follow closely the use of a cer¬ 
tain color of GREEN, but make changes and alter 
the effect so as to make a pretty color combination. 

Leaves—(China Painting) 

In everything you paint, three shades are neces¬ 
sary, as for instance, dark shadow, medium shadow, 
and the light parts. Leaves should have a dark 
shadow perhaps in a very small proportion, the me¬ 
dium shadow in a larger proportion and then the 
light part which is the part receiving the light direct, 
and about as broad in space as the medium shadow. 

A good color for the dark shadow of the leaves is 
the SHADING GREEN or if a very dark color is de¬ 
sired, the DARKEST GREEN. For the medium 
shadow ROYAL GREEN or OLIVE GREEN or if 
you have it at hand, EMPIRE GREEN. Either one 
of these three colors will be good for the medium 
shadow. For the lightest parts of the leaves you 


88 


may use either one of the following colors: APPLE 
GREEN, YELLOW GREEN, MOSS GREEN, or per¬ 
haps a very thin coating of RUSSIAN GREEN. If 
the leaves are in a very yellow tone, for the dark 
parts I would advise BROWN GREEN and for the 
light shades MOSS GREEN. If the leaves are red¬ 
dish I would advise AUBURN BROWN or HAIR 
BROWN for the dark shadows, and perhaps YEL¬ 
LOW BROWN for the light parts. This later color 
is very pretty for autumn leaves. 

As you notice that I have given several colors for 
leaves in different shades of GREEN, you must use 
your judgment in using the proper one. In grape 
leaves, for instance, there is a good opportunity 
for using some YELLOW and RED tones giving 
the impression that the leaves are a little old and 
Withered; here you can use also a trifle of YELLOW 
RED or perhaps BLOOD RED, having touches of 
YELLOW BROWN and ALBERT YELLOW. 

For shadow leaves in china painting you may use 
any neutral, low toned color. Shadow leaves are called 
those leaves which are deep in the background and 
which are generally very flat and without detail 
helping to give a relief to the main subjects in the 
foreground. For instance, if you have your fruit or 
flower painted and the main leaves painted in clean, 
bright GREEN, and all the details finished up care¬ 
fully, you must have several leaves in the back¬ 
ground painted with a delicate flat grey tone and 
these leaves are generally called shadow leaves be¬ 
cause they are supposed to be way back from the 
foreground. 

These shadow leaves are painted with a neutral 
color of any kind, as for instance, SHADING GREEN 
very thin or COPENHAGEN BLUE very thin, or 


89 


else MYRTLE GREEN very thin, or if the effect is 
to be very light you may use COPENHAGEN GREY. 
These shadow leaves have very little detail and they 
will help in making a very pretty effect. You may 
add a suggestion of a stem here and there so that 
they do not look loose in the air. The effect will 
be very pretty. 

The shadow leaves are applied when you apply the 
background and, as for instance, you apply the IV¬ 
ORY YELLOW background you change this color 
occasionally with a touch of a GREY color suggest¬ 
ing the shape of a leaf and when you pad the back¬ 
ground you also pad this leaf, making the effect very 
soft and pretty. 

In china painting the best method for painting 
leaves is, of course, the painting on of dark shadows 
on the first firing and the application of the general 
green color on the second firing. When this second 
application is dried, a few dark touches of SHADING 
GREEN or DARKEST GREEN, applied with a lining 
brush, will give a very good finished appearance to 
the leaf. 

When you apply the background to your decora¬ 
tion it is always advisable to run over or pad over 
part of the leaves, as this thin tint will soften the 
apppearance of the leaves and make them, so to say, 
appear deep in the background. 

Do not paint all the leaves of one coloring, but if 
you have some of the leaves in OLIVE GREEN and 
some, for instance, shadow leaves in a GREY COLOR 
you may add one or two leaves in BROWN GREEN, 
for instance, and a small one in YELLOW BROWN 
and you will find that this variety of color will im¬ 
prove the effect very much. 


90 


I find that in finishing up leaves, I apply the de¬ 
tails on the very last, and use a dark color and a 
small lining brush which gives the finishing touch 
and completes the appearance of the leaves. 

As I stated several times you should have a cor¬ 
rect drawing of the leaves belonging to the special 
flower or fruit, and even if your color is not perfectly 
correct, at least it will not be out of drawing which 
is the worst fault of any kind. 

Leaves—(Water Color Painting) 

In water color painting you may use a combina¬ 
tion of colors for the making of all leaves. HOOK¬ 
ER’S GREEN No. 1 and HOOKER’S GREEN No. 2 
are two ready made greens for leaves, one being 
light and the other one dark. EMERALD GREEN 
is a very strong bright green which you may use for 
clean high lights. A good green which is very much 
used is a mixture of INDIAN YELLOW with PRUS¬ 
SIAN BLUE. By using more of the YELLOW and 
less of the BLUE, or vice versa, you will have a 
variety of green tones very soft and sunny. If you 
wish to make a very dark green, of course you can 
always add a trifle of IVORY BLACK or if you want 
a dark yellowish shadow you can use RAW SIENNA 
mixed with a trifle of BLACK and perhaps of any 
BLUE. However, the INDIAN YELLOW is a very 
useful color when mixed with PRUSSIAN BLUE. 

It will not be necessary to give here the beginning 
touches or the finishing touches of the different 
leaves, as it is understood that you should apply the 
dark shadows and later on the light parts. On the 
leaves for china painting I have also given a few 
rules which may be applied to Water color painting, 
especially those that pertain to shadow leaves. 


91 


Shadow leaves in water color painting can be made 
with a trifle of PAYNES GREY and it is to this color 
that you may add a small quantity of any green that 
you may have at hand which will make the shadow 
leaves less or more green according to your general 
effect. These leaves can be applied either over the 
background or before, as in water color it is much 
easier to work out these details. Furthermore, if 
your background or leaves should be a trifle too 
dark you could lighten them by washing over with 
your brush some clean water and rubbing over and 
over until the colors are as light as you wish to 
have them. 

I will not mention again the drawing of all leaves 
which you wish to paint, as this must be understood 
in every subject that you undertake. For instance, 
drawing is the very most important thing and colors 
are of a secondary importance. 

Leaves—(Oil Painting) 

The different colors used for the painting of leaves 
in oil painting could be classified by taking any of 
the YELLOWS and mixing these with PRUSSIAN 
BLUE or COBALT BLUE or else NEW BLUE. 
There is also the EMERALD GREEN which is a 
very clear, bright color used mostly for the light 
parts and still there is other greens, as for instance, 
CHROMES GREEN of which there is a light and 
dark shade. 

In oil painting there is always a certain quantity 
of WHITE mixed with the other colors and you must 
of course, use enough of these colors to make the 
desired effect. RAW SIENNA will be helpful for 
cold, green leaves and for red or autumn leaves you 
may use BURNT SIENNA perhaps in combination 


92 


with ORANGE YELLOW. You may add a trifle of 
BLACK or more BLUE for the dark shadows and use 
a light shade of YELLOW perhaps mixed with EM¬ 
ERALD GREEN for the very clear, brilliant tone 
of green leaves. For the shadow leaves you may use 
any dark blue mixed with a trifle of WHITE and 
a small quantity of RAW SIENNA so as to make a 
dead, grey tone. Of course, in oil painting there is 
always a chance to change and add your color in case 
you have made any mistake, but I must remind you 
that you should do this only when your first applica¬ 
tion of colors are perfectly dry and the drying will 
take at least several days. 

If students desire a complete list of colors, brushes 
and materials used in painting, they may have full 
catalog, free of charge, by writing the author of this 
book. 


93 


INDEX 


Page 

Introduction __ 3 

Preface- 7 

Water Color Painting_ 10 

Oil Painting __15 

China Painting_19 

Background_25 

Composition _ 30 

Flowers and Fruit_35 

Pink Roses_36 

Dark Red Roses_36 

Yellow Roses_37 

White Roses-37 

Violets_41 

Forget-me-nots_44 

Wild Roses_45 

Apple Blossoms-47 

Carnations_49 

Lily of the Valley and Narcissus---50 

Poppies_52 

Pansies_53 

Chrysanthemums_56 

Daffodils and Yellow Daisies_59 

Sweet Peas_58 

White Daisies and Easter Lilies_60 

Morning Glories_62 

Nasturtiums _63 

Lilacs -65 

Wistaria_67 

WistariaGrape Painting_68 

Blackberries _72 

Raspberries_73 

Strawberries_73 

Currants_74 

Apples and Pears_75 

Plums _76 

Geranium_77 

Oranges and Lemons_79 

Nuts _80 

Cherries __81 

Peaches_82 

Gooseberry _84 

Mountain Ash_85 

Pine Cones _87 

Leaves ___87 

Blueberries _I_86 


94 















































PUBLICATIONS BY D. M. CAMPANA 
Chicago 

Book of Decorative Designs. No. 1. By D. M. Campana. 

Full of pretty borders and ideas for all kinds of decora¬ 
tions. (Third Edition.) Price 90c. 

Book of Decorative Designs. No. 2. By D, M. Campana. 

Contains 191 complete designs of all shapes and styles 
(Second Edition.) Price 90c. 

Book of Decorative Designs. No. 3. By D. M. Campana. 

A variey of conventionalized subjects from nature for all 
kinds of decortaions. A very popuuar book. (Third Edition.) 
Price 90c. 

Book of Decorative Designs. No. 4. 

An entirely different collection of decorative ideas, orig¬ 
inal and pretty. New. Price 90c. 

The Artist and Decorators. By D. M. Campana. 

A large collection of high class decorations and artistic 
suggestions in all styles. A book for ambitious workers, 
such as decorators, designers, artists, engravers. About 500 
ideas. Price $2.50. 

Book, “The Teacher of China Painting.” By D. M. Campana. 

A very complete text book for beginners and advanced 
workers. (Fourth Edition.) Price 75c. 

The Teacher of Landscape Painting. 

Teaches how to start and finish a landscape, how to 
harmonize effects, colors, etc. New. Price 65c. 

The Teacher of Drawing. By D. M. Campana. 

A book giving a systematic method of learning how to 
draw from nature. (Third Edition.) Price $ 1 . 00 . 

The Teacher of Water Color Painting. By D. M. Campana. 

Teaching flowers, figures, landscape, etc., in a plain, clear 
manner. (Third Edition.) Price 65c. 

The Teacher of Oil Paintings. By D. M. Campana. 

Teaches the easiest method to learn oil painting. Land¬ 
scape, figures, animal, still life. A practical book. (Third 
Edition.) Price 65c. 

The Teacher of Flower and Fruit Painting. 

This book explain individual colors to use in painting of 
flowers and fruit. A practical and useful book. Price 65c. 

The Teacher of Conventionalism. By D. M Camp.ana. 

A boklet explaining and guiding the decorator in apply¬ 
ing and making designs for all kinds of crafts. With illus¬ 
trations. Price $ 1 . 00 . 

Book—Roses and How to Paint Them. By D. M .Campana. 

Teaching method for painting roses in water color, china, 
oil, silk and other branches. Given exclusively to roses with 
colored studies. (Second Edition.) Price 75c. 


95 




Book — 100 Lustre Color Combinations. By D. M. Camp.ana. 

How to make them, with all the latest effects. (Second 
Edition.) Price 55c. 

Book on Firing Porcelain and Glass. By D. M. Campana. 

With direction for stacking, repairing, etc. (Second Edi¬ 
tion.) Price 40c. 

Acid Etchings. By D. M. Campana. 

On porcelain and glass—with illustrations. Describes 
from beginning to end the whole process of etching in on 
the body of china and glass. Price 75c. 

Enamel Decorations. By D .IVl*. Campana. 

On porcelain and glass—with illustrations. Teaches the 
safest enamels and colors. Describes cause for chipping off, 
etc. Price 55c. 

Books of Monograms and Lettering. By D. M. Campana. 

Contains a large variety of all styles (thousands of them). 
(Third Edition.) Price 50c. 

Glass Decorations and Firing. By D. M. Campana. 

A booklet teaching how to decorate and fire crystal glass. 
Such method can be followed with other quality of glass. 
Price 40c. 

Ceramic Photography. By D. M. Campana. 

Gives recipes and method for making photographs on 
china and enamels. Price 75c. 

Book on Leather Craft. By D. M. Campana. 

Explaining tooling, carving, painting, polishing, etc. Il¬ 
lustrated with many patterns for bags, etc. Price 50c. 

Book of Desings and Color Schemes. By D. M. Campana. 

A publication in colors, complete; 120 pages of designs 
in colors and directions. Better than 6 months’ lessons. 
Price $7.50. (For china decorations.) 

Colored Studies. By D. M. Campana. 

Flowers and fruits and conventional, large. Ask for list. 
Price 25c. to 50c. 

Studies in Series. (20 Series.) By D. M. Campana. 

Conventional and realistic; all in colors and original. 
Each series contains 6 designs in colors with full directions. 
Flowers, fruit, conventional. Each series 50c. 


SOLD AT ALL ART DEALERS OR AT 

D. M. CAMPANA ART CO. 

Publishers of Art Books 
CHICAGO, ILL. 

96 


LB D 24 



I 


$ 

































































